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THE  LIBRARY 
OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


The  Music  Story  Series 


Edited  by 

FREDERICK  J.  CROWEST. 


The 
Story   of  Symphony 


^be  "/ibueic  Storg"  Sertes. 

3/6  net  per  Volume. 
Already  published  in  this  Series. 

THE  STORY  OF  ORATORIO.     A.  Pattekson,  B.A., 

Mus.  Doc.     With  Illustratiorii. 
STORY      OF      NOTATION.        C.      F.      Abdy 

Williams,  iNI.A.,  Mus.  Eac.     With  Illustrations. 
STORY     OF     THE     ORGAN.        C.     F.     Abdv 

Williams,  M.A.,  Mu.s.  Bac.     With  Illustrations. 
STORY  OF  CH.\MBER  MUSIC.     N.  Kii.burn, 

Mus.  Doc.     With  IHustratioiis. 
STORY  OF   THE  VIOLIN.      Paul   Stoeving. 

With  Illustrations. 
STORY    OF    THE    HARP.      W.    H.    Grattan- 

Flood,  Mus.  Doc.     With  Illustrations. 
STORY    OF    ORGAN    MUSIC.      C.    F.    Abdy 

Williams,  M.A.,  Mus.  Bac.     With  Illustrations. 
STORY    OF    ENGLISH    MUSIC    (1604-1904)- 

MUSICIANS'    company  LECTURES. 
STORY    OF    MINSTRELSY.      Edmondstoune 

Duncan.     With  Illustrations. 
STORY    OF    MUSICAL    FORM.       Clarenck 

Lucas.     With  Illustrations. 
STORY  OF  OPERA.     E.  MaekhamLee,  M.A., 

Mus.  Doc.     With  Illustrations. 
STORY    OF    THE    CAROL.      Edmondstoune 

Du.vCAN.     With  Illustrations. 
STORY  OF  THE  BAGPIPE.     W.  H.  Grattan 

Flood,  Mus.  Doc.     With  Illustrations. 
STORY    OF    THE     FLUTE.      H.     Macaulay 

FIT2GIBB0N,  M.A.     With  Illustrations. 

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on  application  (0  the  Publishers. 

[alt,  rights  reserved.] 


,.<<♦'=« 


after  a   Painting  bjy   F.  Dicksee.RA . 


The 

Story  of  Symphony 


BY 


E.  Markham   Lee 

M.A.  ;  Mus.  Doc,  Cantab. 


London 

The   Walter  Scott   Publishing  Co..   Ltd.  ] 
New  York:    Charles  Scribner's  Sons 
1916 


Music 
Libraiy 


Preface. 

No  book,  so  far  as  I  have  been  able  to  discover, 
exists  in  the  English  language  on  the  History  of  the 
Symphony.  There  is  one  work  in  French,  Brenet's 
Histoire  de  la  Symphonie  a  Orchestre  (see  Bibliography). 
This  is  not  well  known  in  this  country;  it  has  few 
actual  musical  quotations,  deals  more  especially  with 
early  French  composers,  and  ends  with  Beethoven. 

Weingartner's  Symphony  Writers  since  Beethoven 
carries  on  the  story  up  to  recent  times,  but  more 
prominence  is  given  in  this  to  German  compositions 
than  to  the  equally,  if  not  more,  important  works 
of  the  Russian  and  other  schools. 

The  nearest  approach  to  a  complete  work  on  the 
subject  is  Sir  Hubert  Parry's  masterly  article  in  Grove's 
Dictio7iary,  which  treats  exhaustively  of  the  history 
of  the  symphony  up  to  the  time  of  Brahms.  But  in 
this,  again,  more  modern  composers  obtain  but  slight 
consideration. 

v 


Story  of  Symphony 

The  present  book  is  an  attempt  to  put  before  the 
reader  all  that  is  important  in  the  story  of  the 
symphony,  from  the  earliest  examples  of  the  form  to 
the  present  day.  Its  rise  and  development  are  traced 
briefly,  but,  I  hope,  as  adequately  as  the  limits  of  the 
book  allow.  Many  musical  quotations  are  given,  not 
only  from  the  older,  but  also  from  the  more  recent 
composers,  and  a  (necessarily)  short  account  of  the 
works  of  present-day  writers  is  included. 

Some  comment  may  be  aroused  by  the  compara- 
tively extended  analysis  given  to  the  symphonies  of 
Beethoven,  seeing  that  so  much  literature  on  the 
subject  already  exists.  The  following  considerations 
have  influenced  me  in  this  connection: — 

(a)  The  books  of  this  series  are  intended  primarily 
for  amateurs,  although  it  is  hoped  that  much 
in  them  may  be  of  use  also  to  the  more  serious 
student.  The  ordinary  amateur  is  more  likely 
to  hear  a  symphony  of  Beethoven — I  am  not 
speaking  of  London  or  of  the  great  provincial 
centres — than  one  by  any  other  composer. 
The  books  on  the  subject  (Grove's  Beethoven 
and  his  Nine  Symphonies,  etc.)  are  not  pos- 
sessed by  the  majority  of  amateurs ;  moreover, 
they  contain  much  that  the  ordinary  concert- 
vi 


Preface 

goer  need  not  know  for  full  enjoyment  of 
their  performance. 

(b)  The  analytical  prog^ramme,  on  which  the  amateur 

often  relies,  cannot  usually  be  studied  before- 
hand ;  nor  does  it  always  contain  extracts 
from  the  actual  music. 

(c)  Spite  of  all  modern  changes  of  taste  and  custom, 

the  symphonies  of  Beethoven  remain  the 
most  important  of  all  symphonies  ;  they  are 
still  acknowledged  as  the  most  perfect  in 
form,  the  most  beautiful  and  dignified  in 
texture,  and  the  very  finest  examples  of  what 
a  symphony  should  be. 

(d)  The    lover    of    the    symphony    mus^    know    his 

Beethoven.  This  book  will  give  him,  in 
succinct  form,  a  fairly  complete  account  of 
Beethoven's  work  in  this  direction,  in  addition 
to  some  information  as  to  the  works  of  other 
composers ;  and  this  at  a  considerably  less 
cost  than  the  books  which  deal  with  the 
symphonies  of  the  Bonn  master  alone. 

In  Appendix  A  the  difficulty  has  been  to  decide 
what  to  omit.  A  mere  catalogue  of  the  names  of  those 
who  have  composed  symphonies  would  in  itself  con- 
stitute  a  good-sized  volume        It   is   hoped,   however, 

vii 


Story  of  Symphony 

that  no  name  which  has  either  historical  significance, 
or  musical  importance,  so  far  as  the  development  of 
symphony  is  concerned,  has  been  omitted. 

My  thanks   are  due   to   Dr.  Spooner-Lilling-ston  and 
other  friends  for  help  in  revising-  the  proof-sheets  and 


for  suggestions. 


Woodford  Green, 
1916. 


E.  MARKHAM   LEE. 


vni 


Contents. 

CHAPTER  I. 

WHAT    IS    A    SYMPHONY  ? 

PAGE 

Various  uses  of  the  term — Ritornello — An  old  instrument — 
Derivation — Its  use  as  an  interlude — Overture — The  present- 
day  meaning  of  the  word — Offshoots  of  symphony       -  -       i 

^  CHAPTER  II. 

EMBRYO  FORMS  0F  SYMPHONY. 

Evolution — Rapid  development — Early  use  of  the  term — An 
interesting  example — Use  in  Church  Music — As  an  interlude 
in  song — An  operatic  Prelude  by  Monteverde — The  Overture 
of  Lully — That  of  A.  Scarlatti — Gluck — The  symphony  as  an 
independent  form  -  -  -  -  -  -       7 

CHAPTER  III. 

EARLIEST    SYMPHONIES. 

Suite  and  Sonata — Decay  of  dance  forms — Importance  of  stringed 
instruments — Bach  and  Handel — Stamitz — Other  early  masters 
— Early  programme  works — Diltersdorf — Orchestras  of  the 
day — Establishment  of  form — Modern  programmes  have  no 
room  for  these  symphonies        -  -  -  ■  -     i6 

ix 


Story  of  Symphony 

CHAPTER  IV. 

BIRTH    OF    THE    MODERN    SYMPHONY. 

PAGE 

The  modern  symphony — C.  P.  E.  Bach — His  methods — Use  of 
wind  instruments — His  modulatory  device — Haydn — Oppor- 
tunities at  Esterhaz — lie  Midi — Early  and  late  examples — 
"Salomon"  Symphonies — "Father"  of  symphony — Reasons 
for  comparative  neglect  of  Haydn's  symphonies  -  -     24 


CHAPTER  V. 

MOZART. 

The  symphony  becomes  a  serious  matter — Mozart — "Parisian" 
symphony — Three  great  symphonies:  "  E  flat,"  "  G  minor," 
"Jupiter"         -  -  -  -  -  -  -     34 


CHAPTER  VI. 

BEETHOVEN:     HIS    FIRST    FIVE    SYMPHONIES. 

supreme  master — Why  is  Beethoven  supreme? — Beethoven 
"thinks"  in  the  medium  of  the  orchestra — Different  methods 
to  those  of  Haydn  and  Mozart — Earlier  works — The  first 
symphony — Use  of  the  drum — Symphony  in  D — A  great 
finale— The  "Eroica" — Reasons  for  its  title — A  new  line  of 
thought — A  familiar  theme — Humour  in  the  first  movement — 
The  funeral  march — A  real  "Scherzo" — The  variation  finale 
— Fourth  Symphony — The  slow  introduction — The  first 
allegro — A  long  love-song — A  new  procedure — The  great 
"C  minor" — The  blow  of  fate — A  beautiful  slow  movement 
— A  note  of  mystery — A  joyous  finish  -  -  -  "42 

X 


Contents 


CHAPTER  VII. 

BEETHOVEN:     LAST    FOUR   SYMPHONIES. 

I'AGE 

Schopenhauer  on  Beethoven's  symphonies — A  "titled"  work — 
Beethoven's  views  on  titles — Headings  of  the  movements — 
A  picture  of  nature — The  slow  movement — Realism — A 
village  band — The  storm — Thanksgiving — Symphony  in  A — 
Early  criticisms — The  opening  introduction — "The  apotheosis 
of  the  dance" — A  solemn,  slow  movement — A  characteristic 
scherzo — The  Bucolic  finale — A  "little"  symphony — Light- 
ness of  mood — A  poor  reception — Small  orchestra  employed 
— A  straightforward  movement — An  airy  allegretto — A  return 
to  the  minuet— Originality  in  the  finale — The  Choral  Sym- 
phony— Incongruous  elements — Beethoven's  doubts — Great- 
ness of  the  whole — First  performance — The  allegro — Its 
themes — The  second  movement — The  adagio — The  carious 
"connecting  link" — Turkish  music     -  -  -  -     "2 

CHAPTER  VIII. 
romantics:    weber,  spohr,  and  schubert. 

The  Romance  school — Weber — Spohr — Schubert — The  "Un- 
finished" Symphony — The  "glorious  C  major"        -  -   Ii6 

CHAPTER  IX. 

romantics:    Mendelssohn,  Schumann,  raff, 
rubinstein. 

Mendelssohn — "Reformation"  Symphony — "  Italian  "  Symphony 
—  "Scotch"  Symphony — "  Hymn  of  Praise" — Schumann — A 
late  start — "Spring"  Symphony — A  new  departure — C  major 
Symphony —  "  Rhenish"  Symphony  —  Raff —  Rubinstein  — 
Gade     -  -  -  ■  -  -  -  -   124 

xi 


Story  of  Symphony 

CHAPTER  X. 

PROGRAMME    SYMPHONISTS. 

PAGE 

Programme  symphony — Berlioz — Episode  de  la  vie  d'un  Artiste 
— L'Idee  Fixe— Harold  en  Italie— Liszt— Other  programme 
symphonists      -  -  -  -  -  -  -132 

CHAPTER  XI. 

BRAHMS. 

A  period  of  exhaustion— Brahms— A  new  birth— Brahms'  or- 
chestration—C  minor  Symphony— D  major  Symphony— F 
major  Symphony — E  minor  Symphony — Brahms'  influence     -  138 


CHAPTER  XH. 

BRITISH    SYMPHONY    COMPOSERS    FROM    BENNETT   TO 

ELGAR. 

British  vocal  music— Church  music— The  late  start  of  English 
symphonists— Bennett— Bennett's  followers— Parry— Stanford 
— Cowen — Elgar — Younger  composers  -  -  -  I45 


CHAPTER   XIII. 

RUSSIAN    SCHOOL. 

New  Russian  composers— Tchaikovsky— His  early  symphonies 
— F  minor  Symphony— The  E  minor  Symphony— The 
"  Pathetic"  Symphony— A  false  comparison— Rimsky- Korsa- 
koff—Glazounoff— Other  Russians— Finns  and  Poles  -  152 

xii 


Contents 


CHAPTER    XIV. 

MODERN    SYMPHONY    COMPOSERS, 

PACE 

Smetana  —  Dvorak — Saint-Sat-ns  —  Cesar  Franck  —  Scandinavian 
composers — Modern  Germany — Bruckner — Mahler — Sgam- 
bati — American  composers — Modern  orchestras  -  -   i6o 

CHAPTER    XV. 

SYMPHONIC,    OR    TONE    POEM. 

A  definition — How  it  differs  from  a  symphony — Means  employed 
— Liszt  and  Berlioz — Their  followers — Russian  composers — 
Strauss  .......  167 

CHAPTER    XVI. 

FUTURE    OF    THE    SYMPHONY. 

Is  there  a  future? — Wagner's  views — These  views  criticized — An 
imaginary  picture — What  we  should  miss — The  symphonic 
poem — Its  appeal — What  of  the  future? — An  answer  -  -171 

CHAPTER    XVII. 

CURIOSITIES    AND    EXPERIMENTS    IN    SYMPHONY. 

Haydn — The   "Farewell"   Symphony — Beethoven's  "Choral" — 
Voices  as  symphonic  forces — "Battle"  Symphony — Schubert's 
"  Unfinished  "—Spohr— The    "Earthly   and   the    Divine"— 
"Historic"  Symphony — "  Le  Desert" — Other  Experiments 
— Conclusion  -  -  -  -  -  -  i79 

xiii 


Story  of  Syniphony 


PAUE 


Appendix  A. — Chronological  List  of  the  more  important  Com- 
posers of  Symphonies     -  -  -  -   191 

,,  B. — Glossary  of  Terms  ....  222 

,,  C. — Lists  of  Instruments  employed  in  Symphonies  of 

different  periods  ....  227 

,,  D. — A  List  of  entitled  Symphonies,  grouped  under 

Alphabetical  List  of  Composers'  Names  -  230 

,,  E. — Bibliography  .  .  -  .  .  235 

Index         ...-----  237 


XIV 


List  of  Illustrations. 

PAGE 

"  Harmony  " :    Photogravure  from  Painting  by 

Frank  Dicksee,  R.A.  -  -  -         Frontispiece 

TSCHAIKOVSKY                .....  pace  32 

Beethoven's  Note-book  Extracts          -           -  „    4S 

Beethoven's  Shorthand  Notes  -           -           -  „    49 

Beethoven's  Constitutional        ...  60 

Brahms             ......  Pace  72 

Dvorak           -           -           -           -           -           -  „  113 

N.  A.  Rimsky-Korsakoff      -           -           -           -  ,,156 

"Surprise"  Symphony       .           .           -           .  180 

"Farewell"             .....  iSi 


XV 


Story    of   Symphony. 

CHAPTER    I. 

WHAT   IS    A   SYMPHONY? 

Various  uses  of  the  term — Ritornello— An  old  instrument — Derivation 
— Its  use  as  an  interlude — Overture — The  present-day  meaning  of 
.    the  word — Offshoots  of  symphony. 

To  the  ordinary  lay  mind  the  word  Symphony  conveys 

nothing  very  definite  ;  its  uses  are,  and  have  been,  so 

various  that  the  amateur  may  be  pardoned 

Uses  of 
if  he  hesitates  as  to  a  definition  of  the  term.       ,     _ 

the  Term 
In  different  periods  of  the  Art  of  Music  the 

title  Symphony  has  been  applied  to 

(a)  An  Ancient  Instrument. 
ib)  A  Term  in  Harmony. 
■    (c)  An  Overture  (generally  to  an  Opera). 
{d)  An  Interlude  in  a  vocal  piece. 
{e)  The  introduction  to  a  Song. 
(/)  A  work  in  Sonata  Form  for  the  Orchestra. 

I  I 


Story  of  Symphony 

The  term  ''Symphony"  is  still  to  some  extent  in  use 

as  defining  the  introductory  bars  to  the  accompaniment 

of  a   song-,    any   considerable    passages    of 

accompaniment  during   which    the   voice   is 
ornello  . 

silent,  or  even  the  final  bars  after  the  voice 

has  finished.  The  older  expression  for  this  was 
"  Ritornello,"  but  this  word  has  other  meanings,  and 
has  an  un-English  sound  which  prevents  its  general 
adoption  in  this  country.  The  old  term  "Symphony," 
therefore,  for  want  of  a  better  name,  still  tends  to  cling 
to  these  fragments  of  instrumental  accompaniment.  It 
would  be  less  mystifying,  perhaps,  if  we  could  agree  to 
call  such  fragments  "Interludes;"  but  custom  dies 
hard,  and  in  sp^te  of  the  confusion  sometimes  en- 
gendered by  the  employment  of  this  name,  we  must 
note  its  use,  and  remember  that  in  modern  days  the 
word  Symphony  really  implies  something  on  a  much 
vaster  scale. 

With  regard  to  some  of  the  other  uses  of  the  term  it 
may  be  noted   that   the  old  instrument,    the  "  Organ- 

istrum,"    was    known    in    France    as    the 
An  old 

,  Rubelle,  Rebel,   Symphonie,  and  Chifonie. 

Instrument  .  . 

According  to  the  historian   Praetorius,  this 

was  a  kind  of  peasant's  lyre,  played  with  a  crank,  the 
left  hand  manipulating  the  keys.  As  both  the  instru- 
ment, and  the  term  for  it,  have  long  been  obsolete,  we 

2 


Derivation  of  Term 

may  leave  this   definition   of  Symphony,    havingf  paid 
deference  to  its  historical  existence.^ 

When    we    think    of    the    derivation    of    the   word 
"Symphony"    from    the    Greek,    in    which    Sum    (o-v/x) 
stood  for    "with"   and    Phone    (<f)wv7))    for 
"sound,"  we    can  understand  its    use  as  a 
term  in  Harmony,  its  literal  meaning  being- 
"agreeing     in     sound."        Thus     the     term     became 
synonymous    with    "concord."     Ancient    music    being 
(theoretically)  almost   all  concordant,    a  musician  was 
sometimes  called  "  Sumphonos  ;  "  this  use  of  the  word 
is  also  obsolete. 

As  applied  to  intrumental  music,  whenever  the  voices 
were  silent  for  a  time,  and  the  orchestra  played 
fragments  by  itself,  we  find  musicians  from  the  time 
of  Peri  (1600)  onward  calling  such  little  bits   "  Sym- 

^  Batman,  who  edited  in  1582  Trevisa's  English  translation  of  the 

Franciscan  Friar   Bartholomseus'  De   Proprietatibus  Rerum,  adds  on 

his    own    account    a    description    of    this    instrument   which   is   not 

uninteresting. 

De  Symphonia. 

The  Symphonye  is  an  instrument  of  mufyke,  and  is  made  of  an 
holowe  tree,  clofyd  in  lether  in  eyther  fyde,  and  mynftralles  betyth  it 
wyth  ftyches ;  and  by  accorde  of  hyghe  and  lowe  thereof  comyth  full 
fwete  notes,  as  Ifyder  fayth.  Nevertheleffe  the  accorde  of  all  fownes 
hyghte  Symphonia,  is  lykewife  as  the  accorde  of  dyverfe  voys  hyghte 
Chorus,  as  the  Gloc.  fayth  fuper  Luc. 

3 


Story  of  Symphony 

phonies."  Even  at  these  early  dates  we  must  notice 
that  the  word  was  generally  applied  to  passages  for 

instruments  alone  (z.e.,  without  voices),  and 
Use  as  .... 

_  ,  .  this  is  important  as  beannof  historically 
Interlude  a  j 

upon  the  greater  form  of  Symphony  which 

the  Classic  Composers  were  presently  to  evolve. 

It  was,  of  course,  not  a  vast  step  from  the  employ- 
ment of  the  orchestra  by  itself  for  a  bar  or  two,  to  its 

use  for  a  whole  series  of  bars,  and  eventually 
Overttxre 

to   a  whole  movement  in   which  the  voices 

had  no  part  whatever.  Thus  in  Opera,  when  the 
desirability  of  having  a  complete  little  movement 
played  by  the  band  before  the  raising  of  the  curtain  was 
realised,  a  short  "Symphony"  was  composed,  this 
often  receiving  the  more  appropriate  name  of  "Over- 
ture:" a  very  common  name  also  for  this  introductory 
movement  was  "  Sinfonia  avanti  I'Opera."  So  long  as 
these  movements  were  confined  to  the  theatre  their 
nomenclature  was  somewhat  unimportant,  but  when 
they  were  performed  separately  in  the  concert  room 
(which  soon  became  the  fashion),  the  dignity  of  the  music 
was  greatly  increased,  and  composers  began  to  lavish 
more  care  upon  their  construction:  the  words  "avanti 
rOpera,"  being  absurd  in  the  concert  room,  were 
dropped,  and  the  first  word  "Sinfonia"  only  was 
retained. 

4 


What  a  Symphony  Is 

Thus     came     into     vogue     the     "Symphony"     as 

we  understand  it  to-day — a  work  for  Orchestra  alone, 

in  several  movements  (generally  four),  these 

....                              ,           .  Meaning 

movements  bemg-  m  a  more  or   less  stereo-  ,    . 

"^                                      ^  of  the 

typed  order  of  (a)  quick,  (d)  slow,  (c)  lively,  ^    j 

and  (d)  quick,  and  being  individually  de- 
signed in  different  species  of  "  Form,"  or  constructive 
shape.  This  is  what  the  musician  understands  by  the 
term  "Symphony" — this  and  much  more.  For  the 
Symphony  has  been  the  goal  of  almost  every  ambitious 
composer  ever  since  the  days  of  Haydn ;  and  of  all  their 
glorious  thoughts,  the  great  masters  have  usually  kept 
the  best  for  their  Symphonies.  Thus  the  term  brings 
to  the  mind  of  the  music-lover  thoughts  of  the  rarest 
and  most  precious  of  all  his  possessions  :  it  conveys  to 
him  a  sense  of  all  the  most  exquisite  and  wondrously- 
wrought  legacies  of  the  great  ones  of  Music  :  it  means 
to  him  perfection  of  workmanship,  both  in  melody,  in 
harmony,  in  design,  and  in  orchestration,  for  the  period 
to  which  any  given  work  belongs.  The  symphonies  in 
his  library  are  to  him  as  the  "  Hundred  Best  Books  "  to 
the  book-lover :  treasures  not  to  be  lightly  dipped  into 
for  a  few  minutes  when  the  mind  is  tired  and  needs 
relaxation,  but  to  be  approached  with  reverence,  to  be 
read  again  and  again,  to  be  studied,  and  above  all,  to 
be  loved. 

5 


Story  of  Symphony 

There   are   certainly   many    offshoots    of    symphony 
which    differ    much    from     the     definition    laid    down 

above  :  these  will  be  considered  in  another 
Offshoots 

chapter.  The  term,  too,  is  still  used  by 
of 

o        1.  some  as  defining:  the  introduction  to  a  songf, 

Symphony  **  *=> ' 

or  such  little  ritornelli  for  the  orchestra  as 
occur,  for  instance,  in  the  "  Amen  "  chorus  of  Handel's 
Messiah.  There  is  perhaps  no  great  harm  in  still 
calling  these  things  symphonies,  so  long  as  we  under- 
stand what  a  symphony  really  is:  henceforth  in  this 
book  the  word  will  usually  mean  only  the  great 
symphony  for  the  orchestra,  and  its  minor  uses  must  be 
confined  to  this  chapter  and  the  next :  our  purpose  is  to 
deal  with  the  symphony  as  an  art  form,  and  with  allied 
forms  which  have  grown  out  of  it. 


6 


CHAPTER   II. 

EMBRYO   FORMS   OF   SYMPHONY. 

Evolution — Rapid  development — Early  use  of  the  term — An  interest- 
ing example  —Use  in  Church  Music — As  an  interlude  in  song — 
An  operatic  Prelude  by  Monteverde — The  Overture  of  Lully — 
That  of  A.  Scarlatti — Gluck — The  symphony  as  an  independent 
form. 

Nothing  is  of  greater  interest  to  the  historian  than  the 

g"radual  evolution  of  macrocosm  from    microcosm,    of 

great  forms  from  diminutive  ones,  of  mighty 

Evolution 
and  fully-developed  creations  from  tiny  and 

fragmentary  beginnings.  The  embryo  forms  of  sym- 
phony are  fascinating  as  showing  the  grains  of 
mustard-seed,  the  successors  of  which  were  to  expand 
into  mighty  trees  :  the  diminutive  seed  can  be  seen,  its 
growth  can  be  watched,  its  majesty  and  splendour  in 
the  ripeness  of  age  can  be  enjoyed,  and  its  possible 
withering  and  deca,y  can  be  commented  upon. 

It  is   amazing   to  think  of  the  short   period  in    the 
history  of  musical  art  that  elapsed  between  the  perfec- 

7 


Story  of  Symphony 

tion  of  Beethoven's  "Eroica"  Symphony  and  the  un- 
balanced and  scrappy  fragments  called  "symphonies" 
^  by  Peri   and  his  followers.     Only  a  couple 

of  hundred  years  separate  them,  but  those 
mcnt  years  were  the    vigorous   youthful  ones  of 

the   musical    art,    in    which    many    of    our 

modern  saplings  shot  upwards  with  wondrous  strength 

and  vigour. 

There   is    some    difficulty    in   first   tracing  the    word 

symphony  in  its  application  to  a  separate  fragment  of 

instrumental  music,  ^     As  before  mentioned, 
tarly  use       ,  r^-  ,, 

.    ,  the  term  "  Ritornello  '   was  almost  always 

Term  employed    by    the     earlier     composers    for 

passages  of  this  kind,  and  in  the  works  of 

the    early    Venetian     dramatic     composers     (such     as 

Cavalli,    Cesti,    and    Carissimi)    the   term    Ritornello, 

or  its  abbreviations,    "Ritor,"    "  Rit,"   make   frequent 

appearance.     It  is  very  interesting  to    note,   however, 

that   in  one  of  the  earliest  of  operas,    Peri's  Euridice^ 

dating   from   1600,    there  is  a   little  melody   for   three 

^  A  collection  of  pieces  for  4,  5,  and  6  voices,  by  Waelrant,  appeared 
at  Antwerp  in  1585  with  the  title  "  Symphonia  Angelica,"  and  in  1629 
Schiitz  uses  the  term  "  Syniphoniaj  Sacrne"  for  compositions  for 
voices  and  instruments.  Purcell  wrote  a  symphony  in  his  "Laudato 
Ceciliam"  (16S3),  and  in  the  Ode  of  1692  he  includes  a  six-movement 
introduction. 

8 


Peri's  "  ZInfonia  " 


flutes  which  is  called  "  Zinfonia  "  on  its  first  occurrence, 
although  afterwards  it  is  called  "  Ritornello." 

This  may  not  have  been  the  earliest  use  of  the  name, 
but  it  is  certainly  a  very  early  one,  and  the  music  is 
here  quoted  as  characteristic  of  the  kind 
of  passage  to  which  the  term  '*  Symphony  " 
was  first  applied. 


Interesting 
Example 


Zinfonia.  (Three  Flutes .) 


Peri. 


^ 


^ 


^ 


ffl  ^f"^     ^ 


9^ 


f-ff^f 


JiMAJJ. 


■^  J  J  J  ig^;^ 


ii^^^. 


T 


■XT- 


^^m 


=M^dd 


S 


w 


^ 


^ 


5n= 


^^ 


^ 


^ 


z  Th* 
Voice 
_  now 
renters 


^gE 


\r 


m 


¥ 


Symphonies  of  this  interludial  character  were  em- 
ployed not  only  by  opera  composers,  but  also  by 
writers  of  oratorio,  such  as  Emilio  del 
Cavalieri  and  Carissimi,  and  indeed  by 
almost  every  composer  of  concerted  vocal 
music.  They  were  frequent  in  English 
church  music  of  the  time  of  Charles  II.,  who 
"commanded    such    as  composed    for    the  ChapeP    to 

^  I.e.,  The  Chapel  Royal. 
9 


Use  in 

Church 

Music 


Story  of  Symphony 

make  also  Symphonies  and  Ritornellos  to  many  of  the 
anthems  in  use,  which  were  performed  by  a  band  of 
instruments  placed  in  the  Organ-Loft."  Such  popularity 
did  these  instrumental  interpolations  gain  that  they 
became  frequent  everywhere,  and  were  a  common  feature 
of  music  both  at  home  and  abroad.  Even  after  the 
orchestras  had  disappeared  from  church  galleries  the 
passages  were  still  introduced  ;  but  the  name  "  Ritor- 
nello"  was  now  dropped,  and  they  were  marked 
"organ  "or  "sym."  An  illustration  from  one  of  our 
church  composers  of  this  period,  Dr.  Boyce,  illustrates 
this  very  simple  device. 


From  the  Anthem  "The  Heavens  D£clare".'       (Sym.i  D^  W.  Boyce 

L        (Voices.) 


^ 


^*il  \i  I 


^ 


jf — -tf  yr* 


^ 


^ 


w 


i 


f 


waters  by  measure 


r 


He  -weigheth.  Hewpigheth  the 


^ 


1 


lAA 


AJl 


i^ 


i 


^^ 


^ 


^ 


^ 


fH^ 


The   word  "Symphony"    now   commonly    appeared 
as  the  title  for  introductions  to  many  songs  and  extracts. 
In  almost  every  one  of  the  older  editions  of 

songs  by  Handel,  as  well  as  in  collections  of 

in  Song  ,  •      ^  i.   1  t- 

Other     songs,     any     instrumental     portion, 

whether  introductory  or  otherwise,  is  indicated  "  Sym." 

Now  and  then,  however,  as  in  the  Beggar's  Opera,  the 

lO 


Interlude 


''  For  the  Virginals  " 


term  "  Vir "  (Virginals)  is  inserted,  to  show  what  the 
accompanying-  instrument  may  be.  An  interesting 
feature  of  the  following  extract  is  the  printing  of  the 
instrumental  portion  on  the  same  music  stave  as  is 
allotted  to  the  voice.  This  was  usually  done  to  save 
space  and  the  expense  of  music  printing. 


Air  XXXI  from  the"Becrar'8  Opera? 

^   (Voice.)        ^         ^  ^         ,  ytr. 


Pepusch. 


m 


njl 0  |4-g,-j 


n,rm 


^m 


Is 


then  his      fate  de  -  creed,  sir? 


3^ 


^ 


^ 


^ 


Although  instructive  as  indicating  the  growing  use 
of  the  title,  we  must  not  linger  upon  these  very  scrappy 
"symphonies:"  the  preliminary  movements  to  the 
operas  by  such  composers  as  Lully  and  Alessandro 
Scarlatti  were  growing  in  importance  and  in  their 
general  shape  and  design.  This  form  of  Symphony 
was  now  attracting  much  attention  ;  and  considerable 
care  was  often  expended  upon  its  construction. 

The  plan  of  preceding  an  opera  by  a  short,  separate 

instrumental  movement  was  practised  from 

4.U  \      A  c  A  '  Operatic 

the    verv    early    davs    of     modern     music.      ^    ^    ^    . 

Prelude  by 
Peri's    Euridice    (1600)    had     a    vocal    pre-    lyr     x        j 

lude,  although  we  have  seen  that  a   tiny 

"  Zinfonia"   occurs   elsewhere   in   the    opera.      Monte- 

II 


Story  of  Symphony 

verde's  Orfeo  {1607)  has,  however,  a  complete  instru- 
mental prelude.  This  is  not  called  "  Sj^mphony,"  but 
"Toccata,"  and  is  directed  to  be  played  through  three 
times:  it  is  scored  for  trumpets,  etc.,  and  is  in  the 
nature  of  a  mere  fanfare. 


Monteverde's   Toccata',' instrumental  prelude  to"Orfeo:'      (1607) 


CUrlno 
Quinto. 


AUo. 
Volgano, 
e  Basso 


-QAtsj:! 


i 


re 


i: 


JSJ^ 


xir—^j 


^ 


J  ^ 


-^  n^  nAh^  n,^^^ 


i 


^   ijSJ^^ 


a  «  «  : 


v~uc  or 


rr 


J-  J. 


J. 


xn 


j>.CT.j 


xxz 


■  '  jns^ 


SL^ 


j  .B3.BSJ] 


fe^y 


'  r    EfSfr 


mreea-r- 


i 


IE 


3x: 


ir: 


-U L 


isx: 


:«: 


ayc^r 


^^ 


*-♦- 


r 


r 


i   -t 


i 


12 


Lully's  Overtures 


No  fresh  development  of  importance  occurs  until  the 
time  of  Lully  (1633-1687),  who  very  much  expanded  the 
instrumental  preludes  to  his  operas,  giving- 
such  pieces  the  title  Overture.     He  usually         e  j    11 
adopted  the  form  of  overture  in  which  there 
was  a  slow  introduction,  followed  by  a  brilliant  fugato 
movement,     This  developed  gradually  into  the  modern 
overture,  as  used    both  for    the   opera   house    and  the 
concert  room,  and  its  influence  upon  the  symphony  was 
enormous. 

Lully  clung   to  the   term  "Overture,"    but  his  con- 
temporary, Alessandro  Scarlatti  (1659-1725),  uses   the 
word  Zinfonia  as  well.     That  to  his  opera, 
/I  Pri§^'o7n'ero /or^tina^o,  produced  in   i6g8, 
has  three  movements  (Allegro,  Grave,  and  Presto),  and 
is  quite  a  little  symphony  in  itself.     Scarlatti,  however, 
actually  wrote    separate   works  for  the   or- 
chestra,   called    symphonies,    which    will  be 
touched   upon    in   our  next    chapter.     It   will   be    seen 
that   when    orchestral   preludes    to  operas  were    being 
written  in  two  or  three  contrasted  sections,  the  modern 
form  of  symphony  was  being  very  rapidly  approached. 
With    the    advent   of    Gluck's    later    works,    and    the 
characterization  in  the  overture  of  the  actual    subject- 
matter    of  the    opera    that   was  to    follow,    overtures 
became  more  distinct  from    symphonies,  and   the  two 

13 


Story  of  Symphony 

classes   of  works  were  meant   for  different  audiences, 

the   theatre   audience    and    the  private    music-room    of 

noble  or  patron  ;  more  rarely,  too,  of  course,  for  general 

public  performance. 

At   first  only   those    symphonies   from    operas    were 

played  separately   which  had  proved  themselves  most 

interesting  and  attractive  to  the  audiences  ; 
Symphony  ,     ,  , 

and   then    men    took    to    writmg    separate 

works  which  had  nothing  to  do  with  stage  performances, 
and  which  were  meant  to  be  listened  to  for  their  own 
value  and  beauty.  Such  a  procedure  was  facilitated 
by  the  progress  now  taking  place  in  the  technique  of 
composition;  men  were  finding  themselves,  as  the  result 
of  constant  experiment,  able  to  develop  their  movements 
more  perfectly  and  consistently;  they  discovered  how  to 
balance  movements  one  against  another,  both  from  the 
points  of  view  of  length,  tonality,  and  character ; 
improvements  in  the  mechanism  and  in  the  playing  of 
various  instruments  enabled  them  both  to  enlarge  their 
orchestras  and  to  emphasize  the  individuality  of  the 
separate  factors  they  contained.  All  along  the  line  was 
progress — advancement  in  form  and  design,  in  tech- 
nique, and  in  wealth  of  ideas.  The  days  were  ripe  for 
the  birth  of  a  new  and  mighty  form  of  art-work,  and 
thus  such  embryo  forms  emerged  from  indefiniteness 
and  uncertainty,  and  became  definite  and  certain.     The 

14 


Experiments 


symphony  was  no  longer  just  a  mere  anything-  in  the 
way  of  instrumental  music,  but  a  work  of  particular 
design,  based  upon  logical  principles,  and  developed 
upon  lines  which  had  proved  their  worthiness.  Experi- 
ment ceased  for  a  time,  so  far  as  general  outline  was 
concerned ;  improvements  that  were  effected  were 
more  in  the  directions  of  texture  and  of  orchestration 
than  of  architecture. 


CHAPTER   III. 


EARLIEST    SYMPHONIES. 


Suite  and  Sonata — Decay  of  dance  forms — Importance  of  stringed 
instruments — Bach  and  Handel — Stamitz — Other  early  masters — 
Early  programme  works — Dittersdorf — Orchestras  of  the  day — 
Establishment  of  form — Modern  programmes  have  no  room  for 
these  symphonies. 

In  the  early  days  of  modern  music  for  the  clavier  and 
allied  keyboard  instruments,  two  forms,  the  suite  and 

the  sonata,  were  struggling-  for  supremacy. 

Suite  and     ™,  •,.       u  •  u  •        r 

The    suite,    bemg   a    much    easier    form    in 

Sonata 

which  to  write,  developed  its  possibilities  at 

a  much  earlier  period  than  its  more  complex  and  artificial 
opponent,  the  sonata.  Even  after  the  safe  launching 
of  the  latter  amongst  recognized  forms,  composers 
still  wrote  many  suites.  The  chief  difference  between 
the  two  at  first  was  the  inclusion  or  omission  of  dance 
movements  ;  these  were  common  and  general  in  the 
suite,  and  more  rare  in  the  sonata  proper. 

This    diflerence   found    its    reflection    in    works    for 
orchestras    of    the    same    period.      Many    of    the    old 

i6 


Scarlatti 

opera  overtures,  and  symphonies  before  operas,  con- 
tained dance  measures  ;  but  as  composers  perfected 
themselves    more  fully  in    the    construction 

of  symphonies,  they  seem   by  g-eneral   con- 

Forms 
sent  to  have  omitted  all  dance  movements. 

The  finale  of  a  symphony  tended,  in  these  early  days, 

to  have  much  of  the  lilt  of  certain  dance  tunes,  but 

the   actual  dance  was  mostly  avoided.      Hence   there 

sprung-  a  distinction  between  the  symphony  and  other 

forms,  in  which  the  advantage  of  dignity  lay  with  the 

former. 

Alessandro    Scarlatti,    who    was   born    in    1659,    did 

much  for  many  forms  of  music.     He  was  active  and 

busy  in  writing  both  for  the  church,  the  opera-house, 

and  the  orchestra.     He  gave  very  special  attention  to 

stringed     instruments,     considering-    their 

capabilities    very    carefully,     and    writing- 

Instruments 
most  of  his  important  passages  for  them. 

The  imperfect  and  uncertain  state  of  wind  instruments 

in    his    day   accounts   for    this    preference,    which    had 

much  influence  upon  the  development  of  violin  playing. 

His   "Twelve  Symphonies  for  small  orchestra"   were 

produced  in  1715,  and  although  the  style  there  adopted 

is  by  no  means  advanced,  or  indeed  in  any  way  very 

different  to  that  which  he  employed  in  symphonies  (or 

overtures),  before  his  operas,  these  works  are  interest- 

17  2 


Story  of  Symphony 

ing,  as  they  must  have  been  among-st  the  earliest  of 

this  character  written  for  the  orchestra  alone. 

Bach  and   Handel  wrote  few  symphonies  as  such,^ 

although  both  wrote  overtures,  suites,  and  concertos 

in   which    the    same    form    was    employed. 

,  ,         The  difference  between  the  symphonies  of 
Handel 

Scarlatti,   the  works    of  Bach   and    Handel 

in  the  same  direction,  and  even  the  earliest  symphonies 
of  such  a  composer  as  Haydn,  is  not  in  the  number 
and  style  of  movements,  but  in  the  way  those  move- 
ments are  built  up.  Scarlatti  and  the  great  German 
contrapuntists  started  with  an  idea,  and  presented  that 
idea  practically  throughout  a  movement,  changing  its 
key  and  sometimes  its  manner  of  presentation;  occa- 
sionally a  new  idea  is  added  to  it,  but  the  prevalent 
theme  is  utilized  practically  from  start  to  finish.  The 
real  founders  of  symphony  saw  the  desirability  of  using 
and  contrasting  different  subjects  with  one  another, 
and  herein  lies  the  point  of  cleavage  between  very 
many  orchestral,  and  indeed  most  instrumental,  works 
written  before  the  time  of  Haydn  and  those  written 
afterwards. 

There  are,   however,  some  contemporaries  of  Bach 
and  Handel  who  show  their  knowledge  of  the  value  of 

^  The   title,   "Symphony  in  F,"  occurs  for  a  work  published  in 
vol.  xxxi.  of  the  Bach-Gesellschaft. 

i8 


Stamitz 


contrasted  subjects.     One  of  the  earliest  of  these  was 

J.    K.   Stamitz  (1717-57),   a   Mannheim    concertmeister 

who  wrote  many  symphonies  before  Haydn's 

work    began.      In    the    first    movement    of 

some  of  these  there  is  a  definite  and  well-contrasted 

second  subject. 


From  lf9  3  of  Six  Symplnonies  by'Staiiuta. 

,        Stgs.&Wind.  *  , 


l«t  Snl 
Ist  MoTement 


^ 


etc. 


Vlo.I. 


tadSnbJect 
1st  KoTeiaeiit 


oLLii  ii'J  w I'r^ 


^^''1.  r  r  P  ir^^^ietc. 


Stamitz  wrote  at  least  forty-five  symphonies,  some  of 
which  have  been  reprinted.  His  son  Karl  (1746-1801) 
followed  in  his  footsteps  and  wrote  some  seventy 
symphonies,  which  contain  much  excellence  of  form 
and  matter,  but  are  overshadowed  by  Haydn  and 
Mozart  in  their  works  of  similar  date. 

Among-st   other   composers   of  this    date   who  were 
busily    developing     their    powers    in    the    writing    of 

19 


Story  of  Symphony 

symphonies  may  be  mentioned  John  Christian  Bach 
(1735-82),  Abel  (1725-87),  Galuppi  (1706-85),  Ditters- 
dorf  (1739-99),  Schwindl  (i7?-86),  Wagenseil  (1717-79), 
Boccherini  (1743-1805),  Gossec  (1734-1829). 

It  will  be  noticed  that  although  most  of  the  above- 
named  composers  were  alive  when  Haydn  was  born, 
all  save  Gossec  predeceased  him  by  some  years,  during- 
which  years  Haydn's  powers  developed  very  remarkably ; 
the  symphonic  works  of  many  of  these  composers  were 
extremely  popular,  as  Burney's  History  witnesses.  In 
particular,  the  compositions  of  Dittersdorf  attracted 
great  attention  as  having  leanings  in  the  direction  of 
programme-music,  a  phase  of  the  art  which  was  quite 
new  in  his  day. 

The  symphonies  of  Dittersdorf,  indeed,  claim  more 
than  a  passing  mention.  There  had  been  some  pre- 
cedent for  entitled  symphonies  in  Gossec's 
"La  Chasse  "  (produced  about  1770),  and  in 
the  various  hunting,  battle,  and  peace  symphonies  of 
such  men  as  Leopold  Mozart,  Stamitz,  and  Wranitzky. 
But  Dittersdorf's  aim  was  higher.  He  composed  at 
least  twelve  symphonies  (somewhere  about  17S4)  with 
titles  of  subjects  taken  from  Ovid's  Metamorphoses: 
"The  Four  Ages  of  the  World,"  "The  Rescue  of 
Andromeda,"    "Jason    and    the    Golden    Fleece,"    are 

examples  of  their  names.     The  music  of  these  works 

20 


Early  Orchestras 


does  not  appeal  to  us  of  to-day,  who  are  familiar  with 
later  and  more  sensational  representations  of  pictorial 
music.  But  they  are  remarkable  for  their  date,  and 
although  rather  absolute  music  than  prog;ramme  music, 
as  we  now  understand  the  term,  they  provide  a  wonder- 
ful hint  as  to  the  directions  into  which  the  symphony 
was  to  follow  subsequently. 

The  orchestras  employed  by  the  composers  men- 
tioned in  this  chapter  consisted  usually  of  strings, 
flutes,  oboes,  horns,  and  sometimes  bassoons.  There 
was  not  much  attempt  at  contrasting-  groups  of  in- 
struments, probably  because  the  wood-wind  was 
so  unreliable.  The  strings,  therefore,  had  to  play 
throughout,  and  the  oboes  and  flutes  doubled  the  violin 
parts  from  time  to  time,  while  the  horns  sustained  the 
harmonies. 

In  form  there  was  a  general  adherence  to  the  three- 
movement    basis.      Stamitz,    Dittersdorf,    and    others, 

however,  occasionally  added  a  minuet  and 

Form 
trio  to  the  scheme,  which  thus  became  the 

same  as  that  employed  by  composers  of  the  classic 
period:  (rt-)  allegro;  (b)  slow  movement;  (c)  minuet  (or 
scherzo);  (d)  final  quick  movement.  In  the  details 
of  their  working  much  greater  perfection  was  being 
arrived  at,  more  particularly  in  the  balancing  of  the  sec- 
tions  of   a   movement.      The    double    bar   during   the 

21 


Story  of  Symphony 

first  movement  and  the  repeat  occur  with  Stamitz  and 

others,  and  the  form  is  often  as  definite  as  it  is  with 

Haydn.      It  is  probable  that  these  men  learned  much 

from  Haydn,  but  great  credit  is  due  to  them  for  their 

pioneer  work  ;    they  did   much   that  it  was   necessary 

should  be   done   before  the  symphonic  form   could  be 

established   upon   an   absolutely  definite   basis ;    these 

composers  may  be  said  to  have  dug  a  firm  foundation 

upon  which  the  greater  masters  were  able  to  erect  a 

magnificent  edifice. 

We  never  hear  the  music  of  these  early  composers 

in  the  present  day;  there  is  so  much  that  is  excellent 

that   has    appeared    since,   and  their   thinly 

_     ,  scored   symphonies    would   sound    dull    and 

To-day  .  \    " 

unmterestmg  to  us  now.  Even  the  early 
examples  of  Haydn  himself  are  but  rarely  played. 
The  orchestral  music  of  Bach  still  lives,  but  that  is 
because  there  is  so  essential  a  difference  in  the  music 
itself;  it  has  its  own  vital  power,  and  is  master-work 
in  a  direction  in  which  the  great  Leipsic  cantor  was 
essentially  at  home.  The  early  symphonists,  on  the 
other  hand,  were  experimenting  with  new  problems  of 
form  and  of  orchestration.  They  w^ere  by  no  means 
exploiting  a  well-trodden  path — their  steps  were  some- 
what tentative  and  uncertain.  The  methods  of  the 
polyphonic  school  had  been  left,  and  ths  ways  of  the 

22 


Past  Age  Music 


monodic  were  thorny.  Hence  their  music  can  only 
be  looked  upon  as  showing  the  way  to  others.  The 
great  masters  of  a  later  date  profited  by  the  experi- 
ences of  the  pioneers,  for  it  was  essential  that  the 
spade  work  should  be  done  by  some  one.  Although, 
therefore,  we  may  not  care  to  hear  the  music  of 
these  early  symphony  writers,  except  perhaps  occasion- 
ally as  a  matter  of  curiosity,  we  must  honour  them 
for  facilitating  the  progress  of  the  symphony,  and  for 
setting  it,  as  a  form,  upon  a  firm  foundation. 


23 


CHAPTER   IV. 

BIRTH    OF    THE    MODERN    SYMPHONY. 

The  modern  symphony — C.  P.  E.  Bach — His  methods — Use  of  wind 
instruments — His  modulatory  device — Haydn — Opportunities  at 
Esterhaz — Le  Midi — Early  and  late  examples — "Salomon"  Sym- 
phonies— "  Father  "  of  symphony — Reasons  for  comparative 
neglect  of  Haydn's  symphonies. 

The  works  of  symphony  composers  hitherto  dealt  with 

may  be  said  to  have  but  an  antiquarian  interest  to  us 

of  the  present  day.     The  modern  symphony 

may   be    described    as    a    symphony   which 
Symphony  .  a    a     •  vu   *u 

conforms  in  structure  and  design  with  the 

best    specimens    of    its    type,    and    which,,    moreover, 

contains    music   that  can   be  heard    with   interest   and 

delight  in  these  days  of  modern  developments. 

It   is    true    that    very    few    performances    are    ever 

given   kj-day  of  the  symphonic  works   of  Carl   Philip 

„  „  „         Emmanuel  Bach.     But  this  composer  was 
C.  P.  E.  Bach  .       .  ^  . 

so  much  ahead  of  his  time,  and  his  work 

is  so  far  in  advance  of  that  of  most  of  his  con- 
temporaries, that  it  is  impossible  to  regard  him  as  a 
fossilized   relic  of  a  bygone  age.     His  influence  upon 

24 


Emmanuel  Bach 

Haydn  was  immense,  especially  with  regard  to  form 
and  orchestration. 

He  was  the  third  son  of  the  great  Johann  Sebastian 
Bach,   and   lived   from    1714   to    1788.      He   has   been 
termed  "one  of  the  chief  propagators  of  the  gallant 
(elegant)  style  in  instrumental  music  (so  called  in  con- 
tradistinction to  the  grave,  contrapuntal  style)."  ^     The 
dignified  and  somewhat  severe  methods  of  contrapuntal 
music  had  been  exploited  to  their  fullest  extent  by  his 
mighty  father;    composers  had  to  turn,  as  we  know, 
in   other   directions.      The    Monodic    School,   with    its 
often  trivial  forms  of  melody  and  accompaniment,  had 
been  evolved,  and  the  possibilities  of  formal  design  in 
music   were   now  awaiting  development.       Emmanuel 
Bach  was   the   greatest   of  the   pioneers    of  this   new 
movement,  and  he  may  be  said  to   occupy  a  midway 
position  between  J.  S.  Bach  and  Handel  upon  the  one 
hand,  and  Haydn  and  Mozart  upon  the  other. 

Emmanuel  Bach  wrote  many  important  pieces  for  the 
clavier,  some  of  them  with  fanciful  titles — a  striking 
testimony  to  the  new  directions  which  were  being 
sought.  Eighteen  works  for  the  orchestra  stand  to  his 
name,  and  very  interesting  they  are.  The  instruments 
employed,  in  addition  to  the  strings,  are  usually  flutes, 
oboes,  bassoons,  and  horns,  with  the  addition  of  a  line 

^  Niecks. 
25 


Story  of  Symphony 


Wind 
Instruments 


of  figured  bass  for  the  cembalo.  What  is  more  im- 
portant is  that  he  very  often  gives  the  wind  instruments 
passages  calculated  to  show  off  their  par- 
ticular characteristics  and  qualities;  they 
are  not  merely  some  of  a  number  of 
equally  important  and  interesting  contrapuntal  parts; 
their  possibilities  in  the  direction  of  tone-colour  have 
been  studied  and  understood,  and  this  feature  alone 
helps  us  to  feel  that  his  symphonies  are  more  "  modern" 
than  those  of  the  composers  hitherto  touched  upon. 
The  following  extracts  will  show  the  general  style  of 
his  subjects  and  treatment: — 

Opening  subject  of  Symphony  inF.  C.P. E.Bach. 

Allegro  di  molto.  » _ 


Finale  of  the  same  Symphony. 


Modulatory  Link 


There  is  one  curious  characteristic  in  the  symphonies 
of  Emmanuel  Bach  which  must  be  mentioned.  He 
has  a  Httle  habit  of  employing-  a  few  modulatory  chords 
to  lead  from  one  movement  to  the  other,  a  device 
which  we  find  in  Handel  (as  in  the  overture  to  Samson) 
and  other  composers,  but  which  fell  out  of  use  during 
the  classical  period  of  music.  Here  is  an  example  of 
the  way  Emmanuel  Bach  leads  us  from  movement  to 
movement: — 


Symphony  in  D,    End  of  first  movement,  modulating  link,  and 
beguming  of  alow  movement.      C.P.  E.Bach. 
>   Allegro  dimolto.  •      ,  r*  .     ^ 


27 


Story  of  Symphony 

And  now  for   "Papa"    Haydn   (1732-1809).      What 

did  Haydn  do  to  merit  the  title  *'The  Father  of  the 

Symphony"?     The  answer  may  lie  in  the 

^^  "  statement  that  he  found  it  an  immature  and 

little  recognized  form;  he  left  it  in  the  proud  position 
of  monarch  of  instrumental  music.  The  merit  for  this 
was  not  Haydn's  alone,  for  Haydn  was  enormously 
influenced  in  his  finest  and  latest  work  by  Mozart. 
But  even  without  this  influence,  and  before  he  had 
come  under  its  sway,  he  had  achieved  much.  He 
beg-an  by  writing  little  symphonies  after  the  manner 
of  Emmanuel  Bach  and  others,  in  which  the  first  and 
second  violins  were  usually  playing  together,  while  the 
violas,  'cellos,  and  basses  had  very  much  the  same  work 
all  the  way  through.  The  style  was  light  and  un- 
important, the  musical  contents  neither  very  profound 
nor  very  interesting. 

But  he  lived  for  many  years  at  the  palace  of  Prince 

Esterhdzy,  where  he  had  an  orchestra  always  at  hand ; 

he  was   able  to   experiment  with  his  band, 

^P^°^"         to  try  eff'ects,  and  to  compose  in  any  manner 

tunitics  at    ^^^^  appeared  good  to  him.      Doubtless  he 

Esterhaz  ^^  •   r     .  •  ^ 

rejected    many    unsatisfactory   experiments; 

it  is  not  every  composer  who  has  the  opportunities  of 

making  them,  or  of  hearing  them  when  they  are  made. 

Haydn  was  very  happy  at  Esterhiz.     He  says:    "My 

28 


Haydn  s  Originality 


Prince  was  always  satisfied  with  my  works ;  I  not  only 
had  the  encourag-ement  of  constant  approval,  but  as 
conductor  of  an  orchestra  I  could  make  experiments, 
observe  what  produced  an  effect  and  what  weakened 
it,  and  was  thus  in  a  position  to  improve,  alter,  make 
additions  or  omissions,  and  be  as  bold  as  I  pleased; 
I  was  cut  off  from  the  world,  there  was  no  one  to 
confuse  or  torment  me "  (think  of  that,  ye  critics  !) 
"and  I  was  forced  to  become  original.''''  No  wonder 
that  for  close  upon  thirty-three  years  the  composer 
remained  in  such  congenial  occupation. 

The  earliest  symphonies,  such  as  "  Le  Midi,"  which 
was  composed  in  1761,  show  perhaps  but  little  advance 
upon  the  methods  of  Emmanuel  Bach.     It  »„,,.., 

is  interesting-  to  note  that  many  of  them 
have  titles;  besides  "  Le  Midi"  there  is  "  Le  Soir" 
and  "  Le  Matin";  there  is  the  "Philosopher,"  the 
"Schoolmaster,"  "Maria  Theresa,"  and  "Mercury"; 
there  is  the  "Military,"  the  "Chase,"  the  "Surprise," 
the  "Farewell,"  and  so  forth;  some  of  these  were 
designed  to  a  programme,  the  majority  probably  not. 

The  following  quotation  from  "  Le  Midi"  gives  the 

style  of  the  early  symphonies: — 

First  BBbject  of  first  Allegro. 
AUegro. 
Orch.JBPnison 


Subject  of  Finale 
ADegro. 


vio.i.&n 


29 


Story  of  Symphony 

This  was  written  in  his  first  year  in  the  service  of  the 

Esterhdzy  family  (1761).      Its    simplicity  is   apparent, 

and    an    examination    of    its    orchestration 
Early  and 
J  will  show  what  a  comparatively  little  way  the 

g  .        composer   had   progressed    upon    the    road 

upon  which  he  afterwards  travelled.     What 

a  contrast  between  this  work  and  the  famous  "  Oxford  " 

symphony,   so  called  because  it  was  performed  in  that 

city  on  the   occasion    of  Haydn    receiving"  the    degree 

of  Mus.    Doc.   there  in   1788: — 


First  subject  of  first  Allegro. 
Alleg^rospiritoso. 


In  the  very  year  in  which  this  was  composed  Mozart 

wrote  his  three  greatest  and  finest  symphonies.     From 

these  Haydn  learned  much;  less  perhaps  in 

the  direction  of  form  than  in  the  methods 
Symphonies      -         ,  .  ,     ,  , 

of  orchestration   and   the   general   texture 

and  intensity  of  the  musical  thoughts.     Haydn's  twelve 

last   symphonies    (called  the    "  Salomon "   set   because 

they  were  written  specially  for  concerts  given  in  London 

30 


"  Father  "  of  Symphony 

by  a  violinist,  Salomon),  are  far  in  advance  of  his  earlier 

efforts.     While  still  exhibiting  many  of  those  features 

of  lio^ht-heartedness  and  humour  which  are  character- 

istics  of  almost  all   his  music,  they  probe  the  depths 

of  musical   feeling  to  a  far  greater  extent  than  those 

penned  before  the  influence   of  Mozart  had  been  felt; 

they  are    conceived    in    a   loftier   style,   scored  with   a 

firmer  hand,   and   in   some   ways  hint  at  ideas  which 

found  development  in  Beethoven. 

Haydn  is  credited  by  some  authorities  with  as  many 

as  one  hundred  and  fifty-seven  symphonies.     Many  of 

these  are  only   overtures   and  other   works 

...  *'  Father  " 

not  really  of  symphonic  dimensions.     Some 

have  never  been  printed.  Other  historians  ^  , 
ofive  the  number  as  one  hundred  and 
eighteen.  The  actual  number  does  not  really  matter; 
such  a  composer  as  Brahms  would  probably  have 
destroyed  more  than  half  of  them,  more  especially 
those  which  were  mainly  experimental.  What  really 
concerns  us  is  the  fact  that  some  eighteen  to  twenty 
of  Haydn's  symphonies  are  works  of  the  finest  char- 
acter, and  judging  by  these  alone  he  must  be  acclaimed 
as  a  master  of  the  symphonic  form — nay,  more,  as  a 
founder  of  this  king  of  forms. 

Few  of  these   symphonies  are  heard  in  the  concert 
rooms  of  the  present  day.      The  public  loves  strong 

31 


Story  of  Symphony 

meat;   the  graceful,  vivacious,  virile  style  of  Haydn's 

art  is  hardly  pungent  enough  for  its  taste.     What  it 

,,    ,  loves  is  frenzy,  excitement,  and  noisy  tumult. 

Neglect  .  . 

Except  in  rare  cases  it  prefers  Wagner  and 

Tchaikovsky  to    Haydn    and    Mozart.      The    orchestra 

of  the  latter  composers  seems  slight ;    there  is  a  lack 

of  the    sonority  that    comes  from  the   employment  of 

much  brass  and  a  full  complement  of  wood-wind  and 

percussion;    there  are   no  climaxes  of  noisy  outburst, 

there  is    no  jugglery  and  trickery  of  orchestration,  no 

sensationalism.     It  is  music,  pure  music,  and  for  this 

most  people  really  care  little.     All  the  more  a  tribute 

to    the    powers    of    Haydn    is   it   that   his    symphonies 

are  sometimes  performed  by  our  big  orchestras;  such 

performances   become   more  and  more  rare,  but  when 

they  are  to  be  heard   are  a  pure  delight.      For  smaller 

orchestras,   and   more   especially   for   amateur   bodies, 

the  large  library  of   Haydn   symphonies   is    of  untold 

value;    and  amateur  conductors,   as   a  rule,  are  alive 

to   the    fact.      Interesting   without   being  too    diflficult, 

the  material  they  provide  for  study  is  of  the  best;  not 

very  many  instruments   are   required,   but  good  work 

must   be    done    by   the    performers    to    give    even   an 

approximate  rendering.     To  the  student  of  elementary 

orchestration,    and    to    those    who     study    form    and 

analysis,  the  Haydn  symphonies  are  alike  indispensable. 


32 


Usefulness   of  Haydn's  Work 

And  some  day  the  general  public  will  learn  to  appre- 
ciate these  works  at  their  true  value.  Mid  all  changes 
of  fashion  and  fancy  they  have  never  entirely  dropped 
out:  it  will  be  a  bad  day  for  the  art  of  music  if  ever 
they  are  allowed  to  do  so. 


33 


CHAPTER   V. 


MOZART. 


The  symphony  becomes  a  serious  matter — Mozart — "Parisian" 
symphony — Three  great  symphonies:  "E  flat,"  *'G  minor," 
"Jupiter." 

With  Wolfgang  Amadeus  Mozart  (1756-91)  we  come 
to  the  last  important  composer  who  wrote  a  large 
number  of  symphonies.  In  earHer  days  composers 
apparently  threw  ofif  symphonies  with  as  prolific  a 
pen  as  more  modern  writers  turn  out  small  pianoforte 
pieces  or  songs.  But  the  composition  of  a  symphony 
was  now  a  more  dignified  proceeding,  and  with  the 
advent  of  Beethoven  this  form  of  musical  art  became 
so  weighty,  its  inherent  contents  were  of  such  signifi- 
cance, that  few  attempted  more  than  eight  or  ten 
during  a  lifetime.  The  irresponsible  utterances  of 
musical  platitudes,  meant  only  to  gratify  for  a  time, 
were  confined  to  works  of  less  dimension  than  sym- 
phonies.    No  longer  do  we  find   men    producing   one 

34 


The   "Parisian" 

hundred  and  fifty-seven  such  works  as  did  Haydn. 
It  was  beginning-  to  be  realized  that  if  a  symphony 
was  worth  doing  at  all  it  was  worth  doing  well. 
Composers  began  to  live  less  in  the  present  and 
more  for  the  future,  with  an  eye  to  longevity  in  their 
output. 

It  is  true  that  Mozart  wrote  forty-one  symphonies: 
this  number,    although   far   below  that  of  Haydn,  is  a 

prodigious  one.     However,   of  these  forty- 

.  f  ,u  y  ^°2art 

one  a  great  many  or  the  earlier  ones  were 

produced  in  the  same  manner  as  Haydn's,  that  is  as 

places  d'occast'on,  and  not  until  the  last  twelve  years  of 

his  life  do  we  find  Mozart  putting  forth  examples  that 

emphatically  count.     In  1778  he  penned  the  "Parisian" 

Symphony  in  D,  the  first  of  those  which  show  him  as 

emancipating  himself  from  convention,  and  giving  to 

the  world  really  individual  and  characteristic  music  of 

this  kind.     In  his  earliest  symphonies  Mozart  had  only 

used  three  movements  ;    later  (in   1767)  he  introduced 

the    minuet,   and  henceforth   we    usually  find  the   four 

movement  form  common  to  him  and  to  the  symphony 

generally. 


Story  of  Symphony 


The    "Parisian"    symphony   has   only   three    move- 
ments, but  in  many  ways  it   is  a  pioneer  production, 
in  its  freer  treatment  of  the  instruments, 
and  in  its  strenijth  of  form.     The  boldness 


"Parisian" 
Symphony 


(for   the   period)    of    the    scoring-    can    be 


noted  from  the  following  extract: — 


Eittactfrom  Mozart's  "Parisian  Symphony"  showing  the 
composer's  fondness  for  passages  in  double  thirds, 
■r  fl  a  J  . — ^■-'     M,  .,  1" 


CUrlaets. 


Bassoobs 


Strings. 


Other  important  examples  of  a  little  later  date  are 
the  "  Lenz,"  the  "  Haffner,"  and  the  "Prague" 
symphonies. 

It  is  to  the  three  last  symphonies  that  one's  mind 
always  turns,  however,  in  thinking  of  Mozart  as  a 
symphony  composer.  These  three  marvellous  works 
(in  E  flat,  G  minor  and  C  major  respectively)  were 
written  in  Vienna  in  the  summer  of  1788,  and  were 
completed  in  six  weeks.     What  marvellous  genius  had 


A   Trilogy- 


Mozart  to  complete,  in  such  a  brief  time,  three  works, 
any  one  of  which  a  modern  composer  would  be  glad 
enough   to   produce   in   six   years  were  he  Three 

able  to  do   so  !     These  works  are  so  im-  Great 

mensely  important,  and  at  the  same  time  so  Symphonies 
very  varied,  that  we  can  quite  understand 
Haydn  learning  much  from  them.  They  were  far 
ahead  of  any  contemporary  music,  both  in  the  strength 
and  dignity  of  their  formal  shape,  in  the  intrinsic  value 
of  the  musical  ideas  expressed,  in  their  emotional  grip, 
and  in  their  sure  and  effective  employment  of  the 
orchestral  forces.  The  first  was  described  by  Mozart's 
biographer.  Otto  Jahn,  as  "  a  triumph  in  beauty  of 
sound,"  the  G  minor  as  "  a  work  of  art  exhausting 
its  topic,"  and  the  third  (or  "Jupiter")  as  "in  more 
than  one  respect  the  greatest  and  noblest  of  Mozart's 
symphonies." 

When  a  Mozart  symphony  is  played  to-day  it  is 
usually  one  of  these  three,  although  some  of  the  earlier 
works  are  by  no  means  forgotten.  There  is  nothing 
in  the  whole  realm  of  music  more  absolutely  charming 
to  the  ear  than  the  symphony  in  E  flat :  its  loveliness  is 
so  untroubled,  its  grace  and  elegance  are  so  exquisite. 
It  contains  no  problems,  nor  will  it  please  the  modern 
hearer  who  revels  only  in  an  orgy  of  sound.  The  score 
looks  quite   a  little  one  :  there  are  no  oboes,  there  is 

37 


Story  of  Symphony 

only  one  flute,  and  the  brass  Is  modestly  represented 
by  a  pair  of  horns  and  a  pair  of  trumpets.  But  every 
note  is  of  importance :  there  is  no  overload- 
ing of  the  score  with  extensive  doublings, 
and  virith  innumerable  details  which  cannot  be  heard  in 
performance.  All  is  of  crystalline  clearness,  and  the 
opening  theme  of  the  first  Allegro  is  typical  of  the 
sweet  simplicity  of  the  whole. 


"EFIat 


Allegro 


Examples  of  Mozart's  fondness  for  scale  passages  in 
double-thirds  are  plentiful  in  the  slow  movement :  the 
minuetto  and  trio,  in  pianoforte  adaptation,  was  for 
long  a  favourite  school-girl  piece  :  the  finale  is  as  bright 
and  cheery  as  any  of  Haydn,  but  with  more  refinement 
and  eloquence. 

38 


The  "Jupiter  " 


"        "G  Minor" 


The  second  of  this  mighty  trinity,  the  G  minor,  is 
written  for  an  even  smaller  orchestra;  there  are  no 
drums,  and  the  only  brass  is  a  single 
pair  of  horns.  There  is  one  flute,  and  an 
original  part  for  two  oboes,  but  later  on,  when  Mozart 
had  learned  to  appreciate  the  beauty  of  the  clarinet  as 
an  orchestral  instrument,  he  added  clarinet  parts  to  the 
score.  Of  the  three  symphonies  this  is  the  saddest 
and  the  most  passionate :  it  has  perhaps  the  most 
characteristic  musical  ideas  (note  the  strong  boldness 
of  the  opening  subject  and  the  wonderful  way  in  which 
it  is  employed).  The  theme  of  the  last  movement  is 
very  similar  to  that  employed  by  Beethoven  for  his  first 
pianoforte  sonata. 

The  "Jupiter"  Symphony,  as  the  last  of  the  three  is 
called  (although  not  by  its  composer),  is  a  thoroughly 
strong  work.  We  miss  in  it  some  of  the  tenderness 
of  the  E  flat,  and  even  more  the  human  interest  of 
the  G  minor.  It  is  god-like,  sublime,  and  so  far  as 
the  greater  part  of  its  texture  is  concerned,  remote 
from  earthly  loves,  fears,  and  passions.  For  this 
reason  it  is  apt  to  move  us  perhaps  less  than  its  pre- 
decessors :  there  are  too  few  glimpses  of  humanity  to 
please  some,  although  passion  creeps  now    ^^  „ 

and    then    into   the  slow   movement,   where 
touches  of  sensuous  beauty  are   not   entirely  absent. 

39 


Story  of  Symphony 


Allegro  molto.*'.*     v. 


>J    J 


wind 


Molln  I . 


VloUn  II 


m 


^eJ 


& 


^m 


^^M 


'f  r;rri 


«r=f= 


^ 


^ 


40 


Counterpoint  "in  excelsis!" 

The  finale  is  interesting  as  combining  the  forms  of 
sonata  and  fugue,  an  experiment  which  Mozart  repeated 
in  the  overture  to  The  Magic  Flute.  Such  passages  as 
those  quoted  opposite,  which  seem  to  have  been  child's 
play  to  Mozart,  have  for  long  been  held  up  as  models 
of  deft  workmanship  to  despairing  students  of  counter- 
point and  canon. 

With  Mozart  the  symphony  was  placed  on  a  firm 
foundation  as  an  art  form  of  the  first  importance.  His 
genius  pointed  the  way  to  the  later  works  of  Haydn 
and  led  directly  to  the  still  greater  and  more  wonderful 
work  of  Beethoven. 


41 


CHAPTER   VI. 

BEETHOVEN:    HIS    FIRST    FIVE    SYMPHONIES. 

A  supreme  master — Why  is  Beethoven  supreme? — Beethoven  "  thinks  " 
in  the  medium  of  the  orchestra — Different  methods  to  those  of 
Haydn  and  Mozart — Earlier  w^orks — The  first  symphony — Use  of 
the  drum — Symphony  in  D — A  great  finale — The  "Eroica" — 
Reasons  for  its  title — A  new  line  of  thought — A  familiar  theme — 
Humour  in  the  first  movement — The  funeral  march — A  real 
"Scherzo" — The  variation  finale — Fourth  Symphony — The  slow 
introduction — The  first  allegro — A  long  love-song — A  new  pro- 
cedure—The great  "C  minor" — The  blow  of  fate— A  beautiful 
slow  movement — A  note  of  mystery — A  joyous  finish. 

It  is  acknowledged  on  every  hand  that  in  Beethoven 
the  greatest  and  mightiest  form  of  instrumental  music 
found  its  greatest  and  mightiest  exponent.  So  much 
has  been  written  upon  Beethoven's  powers  as  a  writer 

of  symphony  that  it  is  almost  presumption 
Supreme  ,  ,  ,.,,,. 

to  add  yet  more  to  this  already  volummous 
Master  .  "^  .  ^ 

literature.     But  in  a  work  on  the  symphony 

his  name  must  necessarily  loom  large,  and  if  nothing 
fresh  can  be  said  upon  the  subject,  it  must  yet  be 
presented  with  a  degree  of  fulness  due  both  to  its 
importance  and  to  the  fact  that  the  average  student  or 

42 


Way  Prepared 


amateur  is  likely  to  hear  a  symphony  by  this  composer 

more  frequently  than  perhaps  by  any  other. 

It  is  worth  while  enquiring-  why  it  is  that  Beethoven 

has  won  the  proud  position  that  has  been  assigned  to 

him    as  facile  princeps    amongst    symphonic   writers. 

The  reasons  for  this  are  various.     First  and 

Why 
foremost,  he  was  born    at   the   right  time. 

Supreme 
The   experimental    work   on   the    symphony 

had  been  done  by  Haydn  and  Mozart:  its  form  was 
settled,  and  completely  understoodr-the  principles  of 
orchestration,  and  the  inclusion  of  certain  instruments, 
were  matters  that  had  been  determined  quite  satis- 
factorily: the  great  composers  who  preceded  Beethoven 
had  actually  gone  some  distance  upon  the  road  towards 
introducing  a  certain  amount  of  emotional  material  into 
their  music.  When  therefore  the  great  genius  arrived, 
the  time  was  ripe  for  him  and  the  path  had  been 
opened  by  pioneers  who  had  cleared  all  obstacles  from 
his  progress.  Consequently  Beethoven  was  able  to 
take  the  symphonic  form  for  granted:  he  was  able  to 


Story  of  Symphony 

experiment  in  the  enlarg-ement  of  its  boundaries  without 
any  danger  of  being  misunderstood  :  he  was  able  to 
concentrate  his  thoughts  upon  the  emotional  contents 
of  his  music,  to  pour  out  his  wealth  of  beautiful 
ideas  with  glorious  effects  of  harmonic  richness  and 
orchestral  colour,  and  to  expand  his  movements  until 
all  stiffness  and  angularity  of  form  had  disappeared. 

Not  merely  in  respect  of  form  does  Beethoven  hold  his 
proud  position  as  a  composer  of  symphony:  the  kind 
of  musical  thought  welded  by  him  into  its  boundaries  is 
altogether  on  a  higher  plane  than  any  that  had  appeared 
before.     If  we  consider  much  of  the  work  of  Haydn  and 

Mozart  we  find  a  tendency  to  similarity  of 

Beethoven     .   ,  .  -j        •  ,         ,,^ -. 

li^. .  .  ,.  mherent  idea  m  any  work,  whatsoever  its 
"Thinks  ' 

mould.     Very  much  the  same  style  of  music 

appears  in  these  composers  whether  the  work  be  string 
quartet,  pianoforte  sonata,  or  orchestral  symphony. 
Beethoven,  on  the  other  hand,  realizes  that  in  employing 
the  orchestra  he  is  making  use  of  the  most  complex 
existing  medium  for  the  expression  of  his  ideas,  and 
in  a  similar  manner  he  reserves  some  of  his  largest 
and  most  weighty  utterances  for  his  symphonies.  The 
outlook  is  almost  invariably  big :  the  whole  method  of 
conception  is  one  of  grandeur  and  of  Titanic  force. 
Beethoven  can  be,  and  elsewhere  often  is,  less  serious: 
he  may  be  now  and  then  even  trivial,  but  in  the  sym- 

44 


The  ^^Nine" 

phonies  there  is  little  trace  of  this ;  he  approaches  the 
matter  with  serious  mien,  and  the  outcome  is  serenely 
great.  There  are  but  nine  symphonies  of  Beethoven, 
but  they  contain  more  music  than  do  the  whole  forty 
of  Mozart  or  the  one  hundred  and  fifty  of  Haydn. 

For  Beethoven  stands  where  two  paths  meet,  the 
classic  and  the  romantic;  there  is  much  of  both  in 
him;  in  his  music  we  find,  peeping  through  the  classic 
formulas,  that  "gravitation  towards  romanticism,"  as 
Sir  Hubert  Parry  expresses  it,  "which  is  the  recogni- 
tion of  the  close  relation  of  music  to  humanity";  or 
as  he  says  elsewhere,  "the  sense  of  expressing  some- 
thing external  to  music  in  music  which  is  not  defined 
by  words."  In  common  with  much  of  his  finest  music 
the  symphonies  are  full  of  these  unexpected  traits  of 
romanticism ;  the  stiff  Viennese  period,  with  its  rigidly 
formal  lines,  is  giving  way  to  one  in  which  human 
thoughts,  loves,  hopes,  fears  are  to  be  conveyed  on 
wings  of  song  all  the  more  beautiful  because  they  lack 
the  definiteness  of  words.  It  is  a  personal  rather  than 
a  conventional  utterance  which  breathes  through  the 
music  of  the  greater  Beethoven. 

Beethoven's  mastery  of  the  orchestra  will  be  dealt 
with  in  the  account  given  of  each  of  his  great  works; 
it  is  by  no  means  one  of  the  least  of  his  merits  as  a 
symphony  composer  that  he  handles  the  orchestra  of 

45 


Story  of  Symphony 

his  day  with  such  invariable  skill :  not  only  does  he 
use  every  instrument  effectively,  but  he  is  one  of  the 
earliest  to  think  out  passages  that  will  be  effective  for 
the  instrument.     The  difference  between  his 


Different 
Methods 


scoring-  and  that  of  Haydn  is  immense  ;  it 
even  eclipses  that  of  Mozart  in  the  deft 
manner  in  which  he  makes  every  instrument,  even  the 
drum,  participate  in  the  thematic  development.  It 
is  no  longer  music  that  might  have  suited  various  com- 
binations of  instruments,  but  happens  to  have  been 
scored  for  the  orchestra  ;  it  is  music  originally  conceived 
for  the  orchestra,  and  not  properly  to  be  interpreted 
by  any  other  means. 

We  do  not  find  Beethoven  stepping  at  once  into  this 

exalted  place  as  supreme  master   of  symphony.     His 

two  first  examples    are   often  spoken  of  as  being  far 

inferior  to  the  others  ;    this  does  not  imply  that  they 

are  poor  works,  for  even  in  these  the  touch 

is  at   least    as    sure    and   strong  as   almost 
Works  .        .  *        . 

anythmg  ui  Haydn  or  Mozart,  and,  in  some 

passages,  fields  on  which  the  older  composers  had  only 
gazed  from  afar  are  explored.  But  the  significance  of 
these  earlier  works  wanes  in  the  light  of  the  greater  and 
more  advanced  ones  which  Beethoven  produced  later 
on,  and  we  are  apt  to  find  Symphonies  I.  and  H. 
neglected,    although    in    series    of    concerts    like    the 

46 


First  Symphony 


First 
Symphony 


Queen's  Hall  Promenades,  or  those  given  by  Mr.  Dan 
Godfrey  at  Bournemouth,  in  which  the  whole  nine  are 
played  annually,  they  find  their  rightful  place. 

The  First  Symphony,  op.  21,  stands  in  C  major;  it 
was  written  between  1795  and  1800,  and  was  first 
produced  at  Vienna  in  the  latter  year,  its 
composer  then  being  thirty  years  of  age. 
The  movements  are  four  in  number,  an 
allegro  (preceded  by  an  introductory  adagio),  an 
andante  in  F,  a  minuetto  and  trio,  and  a  quick  finale. 
The  orchestra  employed  is  the  usual  one  of  the  period, 
two  each  of  the  wood-wind  instruments,  two  horns  and 
trumpets,  timpani  and  strmgs. 

The  first  movement  has  for  its  chief  idea  the  following 
theme : — 

Allegro  con  brio. 
Vm.I 


a  very  straightforward  and  definite  one,  and  its  other 
subjects  are  equally  clear  and  melodious.  But  in  the 
development  section  of  the  movement  one  traces  more 
clearly  the  hand  of  the  Bonn  master. 

47 


Story  of  Symphony 

The  andante  is  a  great  favourite  ;   its  pleasing-  and 
suave  melody  runs  as  follows  :  — 


Andante  cantabile 
vio.n. 


Use  of 
Drum 


The  use  of  the  drum  in  this  movement  is  noteworthy, 
as  showmg  greater  freedom  of  idea  than  had  hitherto 
prevailed.  But  in  the  minuet  we  find  a 
still  more  individual  Beethoven  :  this  section 
of  the  work  is  more  nearly  a  scherzo  than  a 
minuet,  and  its  harmonies,  its  development,  and  its 
scoring  must  have  sounded  very  new  in  their  day.  In 
contrast  with  this  is  the  merry  finale,  quite  in  the  style 
of  Haydn,  the  themes  being  very  gay  and  spirited  but 
not  specially  distinctive. 

A  few  years  later,  in  1802,  appeared  the  second  of 
the  symphonies,  op.  36  in  D.     The  orchestra  employed 
is  the  same  as  in  the  C  major,  and  the  form 
,  adopted    is  similar,    except   that  a  scherzo 

takes  the  place  of  the  minuet.  The  intro- 
ductory adagio  is  longer  and  more  developed,  but  in 
many  places  the  themes  suggest  an  even  earlier  school 
of  composition  than  does  the  first  symphony.  This  is 
noticeably  the  case  in  the   main  idea  of  the  opening 

48 


iff- 


rP 


i-^^:^^^-^^\J^'^., 


if 


v^ 


i>-y 


,7  '' 


NOTE-BOOK    EXTRACTS  (BEETHOVEN). 


IROM    NOTE-BOOK    (BEETHOVEN). 


V  ■ 


\ 


N.  - 


63 
O 

a 

Y. 


a 


t — 


"^ 


~--0 


O 

t/2 


'^J 


'.I  : 
-J  t 


z 

> 

o 

X 

b3 
m 


Second  Symphony 


allegro,  which  is  very  square  cut,  and  to  our  minds 
to-day,  unimaginative. 


AlleKro  con  brio. 

CeUoiAVIoUii 


VloHu^, 


The  second  movement  is  a  larghetto,  with  a  charming 
theme  : — 

Lirghetto. 

Vio.I. 


p^.ifirTrifTT^^ 


cresc 


lyrical  in  style,  happy  and  serene,  with  some  beautiful 
examples  of  orchestral  device.  Yet  even  here  we  have 
little  of  the  real  Beethoven,  who  shows  us  more  of  his 
individuality  in  the  bright  and  wayward  scherzo  which 
follows.  In  the  finale  also  we  find  a  force  and  abrupt- 
ness which  are  much  more  characteristic,  and  which 
are  at  once  apparent  in  the  chief  theme  of  the  move- 
ment:— 

Allegro  molto. 


^^  /Vlo. 


:^t=^ 


T^W^ 


49 


Story  of  Symphony 

This  is  a  great  finale  even  to-day,  with  its  wonderful 
coda,  and  its  evidences  of  emancipation  from  the  form- 
ality which  lurks  behind  so  many  of  the  noblest  works 
of  earlier  composers.     We  have  here  a  hint 

_,     ,  of  the  direction  in  which  Beethoven  means 

Finale 

to  extend  his  work;  freedom  of  idea  and  of 

methods  of  working  linked  with  a  perfection  of  form  and 

finish  which  is  present  without  obtruding-  itself  unduly. 

One  seldom  hears  the  second  symphon)'  nowadays, 
except  in  series  of  concerts  where  the  whole  nine  are 
played  seriatim.  Yet  there  are  those,  such  as  Sir 
George  Grove,  who  find  it  "  though  not  the  greatest, 
the  most  interesting  of  the  nine.  It  shows  with  peculiar 
clearness  how  firmly  Beethoven  grasped  the  structural 
forms  which  had  been  impressed  on  instrumental  music 
when  he  began  to  practise  it;  while  it  contains  more 
than  a  promise  of  the  strong  individuality  which  pos- 
sessed him,  and  in  his  works  caused  him  to  stretch 
those  forms  here  and  there,  without  breaking  the 
bounds  which  seem  to  be  indispensable  for  really  co- 
herent and  satisfactory  composition."^ 

Beethoven  was  not  a  composer  who  made  much  use 
of  titles  for  his  music;  now  and  then  he  would  name 
a  work  or  a  movement  from  a  work,  but  he  was  not 
nearly  so  industrious   in   this   respect  as  some   of  his 

^  Grove,  Beethoven  and  his  Nine  Symphonies.     (See  Bibliography.) 

50 


"  Eroica" 

editors,  who  invented  such  absurd  and  unauthorized 
terms  as  "Moonlight"  Sonata  and  so  forth.  But  for 
his  third  symphony,  which  stands  in  E  flat  (op.  55),  he 
uses  the  title  "  Eroica."  Although  its  date  of  composi- 
tion does  not  stand  very  far  away  from  that     ,  ^     , 

"Eroica" 
of  the  second,  it  marks  an  enormous   step 

forward,  not  only  by  reason  of  its  length  and  impressive- 

ness,  but  by  virtue  of  its  glorious  themes  and  the  superb 

beauty  of  its  musical  thought,  which  allow  it  to  remain, 

more  than   a  hundred  years  after  its    composition,  as 

one  of  the  masterpieces  of  musical  creativeness. 

The     "Eroica"     will    always     stand    out    amongst 

symphonies    by    reason    of    its    mighty    strength,    its 

marked    individuality    and    beauty,    and    its    historical 

significance.     Beethoven  took  for  the  theme 

.     .  ...  Reasons 

of  his  tone-pamtmg  a  subject  ot  no  mean 

order — the  grandeur  and  dignity  of  Napoleon, 
the  soldier  and  emancipator  of  his  country.  It  is  well 
known  how  angry  the  composer  was  when  he  heard 
later  that  Napoleon  had  assumed  the  title  of  Emperor, 
and  how  he  hastily  tore  off  the  title-page  of  his  manu- 
script in  disgust.  The  music,  however,  remains  to 
us  an  imperishable  monument  to  Beethoven's  genius. 
The  heroic  mould  is  preserved  throughout,  and  the 
subsequent  dedication  "to  the  memory  of  a  great  man  " 
is  pathetic,  and  at  the  same  time  appropriate. 

51 


Story  of  Symphony 

The  music,  commenced  in   1803,  shows  us  a  Beet- 
hoven moving  far  away  from  the  comparatively  plain 
road  of  Haydn  and  Mozart;  he  has  struck  out  a  new 
path    for   himself.      This   he    has    hitherto 

been  treading  with  caution  and  somewhat 
of  Thought  .     ,  ,  ,  ,  ,    ,  ,, 

tentatively;  now  he  marches  along  boldly 

and  confidently,  sure  of  himself  and  of  his  own  strength. 
We  have  only  to  note  the  very  considerable  length  of 
the  movements,  the  treatment  of  the  subjects  in  the 
opening  allegro,  and  the  soulful  dignity  of  the  Funeral 
March,  to  see  that  Beethoven  was  no  weakling  (was 
he  indeed  ever  this?),  but  that  he  had  turned  his  back 
on  the  models  of  his  youth,  and  was  manfully  strik- 
ing out  and  forcing  a  way  for  his  extraordinary 
individuality. 

Those  who  know  Mozart's  delightful  little  opera, 
Bastien  et  Basiienne^  will  find  themselves  strangely 
familiar  with  the  introductory  melody  of  its  overture. 
It  is  this  theme,  in  all  its  simplicity,  and  yet  with  its 
wondrous  possibilities,  which  Beethoven  has,  con- 
sciously or  otherwise,  adopted  as  the  keystone  to  the 
opening  allegro — 

Allegro  con  brio.  ^ 

Cello. 

52 


A  Simple  Phrase 


This  apparently  simple  meandering  up  and  down  the 
tonic  chord  becomes  in  his  hands  a  thing-  of  intense 
beauty  and  of  extraordinary  complexity.  We  have 
only  to  listen  to  the  music  as  it  progresses  to  discover 
what  a  mine  of  wealth  Beethoven  can  extract  from  it. 
As  first  played  on  the  'cellos  it  is  short,  and  imme- 
diately succeeded  by  a  violin  phrase;  indeed,  for  the 
present  it  is  only  slightly  insisted  upon,  and  the  music 
soon  modulates  towards  the  key  of  B  flat,  where  a 
phrase  for  wind  instruments  is  heard.  This  must  be 
quoted,  as  much  use  is  made  of  it  in  the  development 
section: — 


Clar.  ^       FT  Viol. 


The  key  of  B  flat  thus  reached,  we  come  to  a  number 
of  themes  which  together  make  up  the  second  subject. 
The  first  of  these,  and  perhaps  the  least  important, 
forms  a  kind  of  duet  for  violins  and  clarinets: — 


A   more    melodious    and    plastic    phrase    follows   in    a 
beautiful  and  harmonious   passage,   delightfully  alter- 

53 


Story  of  Symphony 

nated  between  wind  and  stringfs.     It  is   Beethoven  in 
his  most  lyrical  and  expressive  mood: — 


J— M 


A  1         Ciif  •     I  .  obj    j  J  "•£      A  a.  ^ 


#fe;jij  hjjj  HrrnrfhTTi 


A  crescendo  brings  about  a  joyous  climax,  where  a 
strongly  marked  idea,  also  much  used  later  on,  is 
jubilantly  played  by  the  violins — 


f^ 


1 


^ 


^ 


// 


^ 


•V 


this  completing  the  principal  ideas  of  the  expository 
section. 

The  development  is  on  a  large  scale,  and  is  notice- 
able for  the  fact  that  it  makes  use  of  fresh  material 
besides  amply  dealing  with  what  has  gone  before. 
The  new  melody,  given  to  the  pleading  notes  of  the 
oboes,  is  in  the  remote  key  of  E  minor — 


54 


''  Eroica "  Funeral  March 

and  wedded  to  it  is  a  counter-theme  for  the  'cellos. 
This  beautiful  phrase  is  deftly  woven  with  presentations 
of  the  other  subjects,  and  at  leng-th  gives  way  before 
a  bold  and  manly  idea  for  the  'cellos  and  basses.  As 
the  orchestra  is  hushed  to  a  pianissimo,  the  ear  is  led 

to    expect   the    return    of  the   first  subject, 

Humour 
this  being  tentatively  announced  in  humor- 
ously premature  fashion  by  the  horn,  at  once  followed 
by  a  cadence  and  the  'cellos  as  at  the  opening.  The 
recapitulation  calls  for  no  special  comment;  we  rejoice 
once  again  in  the  fresh  beauty  of  the  ideas  and  their 
gloriously  rich  treatment.  But  the  coda,  with  all  its 
wealth  of  material,  is  important  as  creating  almost  a 
new  epoch  in  the  history  of  form,  so  lengthy  and 
majestic  is  it.  New  devices  in  the  shape  of  tripping  and 
delicate  figures  for  the  strings  decorate  the  oft-heard 
themes,  and  constructive  ingenuity  is  carried  to  a  high 
pitch  ;  the  whole  coda  forms  a  magnificent  peroration. 

Of  the  Marcia  fiinebre  Beethoven  spoke  in  later  days, 
for,   when   told  of   Napoleon's  death,   he   said  he  had 

composed  the  music  for  that  occasion  seven- 

Funeral 
teen  years  before:  otherwise  he  made  little 

.  .       .  ^     ,  March 

reference  to  the  orig^inal   dedication  of  the 


'&' 


symphony.  It  is  a  noble  and  solemn  march,  based 
upon  a  truly  elegiac  idea,  first  heard  in  the  violins  and 
then  repeated  by  the  oboe: — 

55 


Story  of  Symphony- 


Adagio  assai 

1 1,.    „Vio, 


Its  second  strain,  in  the  major,  is  one  of  greater  hope, 
but  the  song  of  mourning  returns,  rhythmically  accom- 
panied by  reiterated  notes  of  sombre  character.  The 
middle  section  of  the  movement  brings  us  to  a  sugges- 
tion of  resignation,  of  comfort  and  relief.  The  beautiful 
melody  allotted  to  the  wood-wind,  with  delicate  triplet 
accompaniments  for  the  strings,  commences  thus — 


and  is  continued  in  similar  fashion.  The  joy,  however, 
is  soon  turned  once  more  into  sorrow,  and  the  minor 
key  is  resumed  with  the  main  theme  of  the  march,  now 
broken  up  by  the  introduction  of  a  considerable  fngato, 
and  by  a  lengthy  episode  founded  upon  a  triplet  basis. 
To  this,  again,  a  mighty  coda  is  appended.  The  final 
appearance   of  No.  24  is   noteworthy :    the  violins,   in 

56 


A  Genuine   Scherzo 

heartbroken  accents  as  it  were,  g"ive  it  in  interrupted 

fragments,   conveying"  the  idea  of  extreme   grief  and 

sorrow.     With  sad,  almost  despondent  note,  the  end 

is  reached. 

With   the    scherzo,    however,    comes    an    irresistible 

and  aboundino-  vivacity.     Beethoven  is  here      „  , 

^    .  "Scherzo" 

m  his  most  original  mood,  and  at  the  date 

of  the   production    of   the    symphony  its   music   must 

have  been   a   revelation   to   musicians.      Where  before 

this    time    could   have    been    heard    anything   like   the 

pattering    pianissimo    string    figure    with    which    the 

scherzo  begins  ? — 


S 


Allegro  vivace 

VI. 


"iJ'iij'ijiljJjljjJ  li^ii^  1^^ 


#^rTt'rTf  ir'CQir'  ^' '  ^&^.  'iji  'i " 


This  motive,  full  of  delicate  surprises,  lends  itself  to 
most  effective  treatment,  and  the  busy  bustle  of  it  is 
gaily  continued.  The  whole  atmosphere  is  charged 
with  gaiety  and  a  delightful  abandon.  The  same 
mood  prevails  in  the  trio,  a  section  which  largely 
concerns  itself  with  a  subject  for  three  horns — a  new 
orchestral  feature  here  first  employed  by  Beethoven: — 

57 


Story  of  Symphony 


There  is  brightness  and  geniality  through  both  this  and 
the  recapitulation  of  the  scherzo,  and  the  necessary 
relief  from  the  sombre  tension  of  the  Funeral  March  is 
well  attained. 

The  finale  is  constructed  upon  what  was,  at  the  time 
of  its  origination,  a  comparatively  new  plan  for  a 
symphonic  movement — an  air  with  varia- 
tions, A  vigorous  passage  for  the  strings 
preludes  this  air— really  a  bass  to  a  theme 
to  be  introduced  later.  The  first  few  variations  corre- 
spond, both  in  theme  and  treatment,  with  a  set  of 
earlier  written  variations  for  the  pianoforte: — 

Allegro  molto. 

pizz 


Variation 
Finale 


Stgs 


Two  versions  of  this  precede  the  entry  of  a  melody 
(previously  used  by  Beethoven  in  his  Prometheus 
music),  which  has  distinct  grace  and  charm: — 


Ob 


Cfrarir  ^ 


58 


Fourth   Symphony 

The  variations  which  follow  take  many  forms,  the 
natural  sequence  to  which  is  a  beautiful  "  poco 
andante" — by  many  considered  the  gem  of  the  finale 
— upon  an  idea  at  once  expressive  and  of  noble  mould. 


Its  continuation  is  decorated  with  graceful  arpeggi  for 
the  clarinet,  and  is  somewhat  prolonged,  a  beautiful 
bridge-passage  leading  to  the  brief  final  presto.^  where 
with  a  brilliant  series  of  passages  the  symphony,  noble 
and  heroic  in  character  from  first  to  last,  comes  to  a 
glorious  conclusion. 

The  gay  and  delightful  Symphony  in  B  flat,  No.  4, 
Op.  60,  is  Beethoven  in  a  lighter  vein,  excepting  per- 
haps the  magnificent  slow  movement,  which 
possesses  all  the  lofty  attributes  of  dignified 
symphonic  music.  It  bears  the  date  1806, 
and  was  the  first  completed  Symphony  after  the 
"  Eroica,"  although  the  colossal  C  minor  had  been 
partly  written  before  this  time.  The  present  work  was 
a  commission,  and  from  its  contents  seems  to  have 
found  the  composer  in  genial  and  playful  mood. 

True,  it  by  no  means   gave  satisfaction  to  its  early 
critics,  and  no  less  a  person  than  the  composer  of  Der 

59 


Fourth 
Symphony 


Story  of  Symphony 

Freischi'its  amused  himself  by  penning  a  humorous  and 
not    altogether   kind    skit   upon    its    originalities    and 


BEETHOVEN  S  CONSTITUTIONAL. 


difficulties.  But  even  the  great  influence  of  Weber 
and  the  scoffings  of  many  lesser  men  could  not  for  long 
obscure  the  bright  freshness  and  skilful  mastery  of  the 

60 


Reversion  to  Older  Methods 

ideas  depicted.  The  symphony  may  not  for  some  years 
have  been  quite  so  often  played  as  its  more  titanic 
brethren,  but  in  later  days  it  has  taken  its  due  place 
among-  the  immortals,  and  one  from  which  it  is  never 
likely  to  be  removed. 

From  certain  points  of  view  it  is  built  upon  a  some- 
what earlier  model  than  the  "  Eroica."  We  see  this  in 
the  slow  introduction  that  begins  the  work,  and  in  the 
use  of  the  minuet  after  the  truly  Beethovenian  spirit 
which  the  scherzo  of  the  "Eroica"  establishes.  But 
these  are  minor  details,  and  many  of  the  qualities  that 
characterize  the  music  of  the  Bonn  master  are  as 
apparent  here  as  in  the  others  of  the  "immortal  nine." 
We  have  before  mentioned  the  greatness  of  the  slow 
movement,  and  many  parts  of  the  opening  allegro  and 
of  the  finale  are  pure  Beethoven. 

The  adagio  which  preludes  the  work  is  of  noble 
dignity,  and  forms  a  suitable  commencement  to  a  move- 
ment of  large  proportions.     Starting  with  a 

solemn  unison   phrase    for   the  strings,    we 

^  "  Intro- 

soon  hear  disconnected  quavers,  a  presage  ,      , 

of  the  idea  to  be  developed  in  the  allegro. 
The  detached  quavers  and  the  unison  idea  serve  amply 
for  material,  and  with  a  gradually  quickening   "rush 
up  "  of  the  violins  we  are  soon  launched  upon  the  merry 
and  joyous  allegro,  with  its  gaily  tripping-  subject — 

6i 


Story  of  Symphony 


Allegro  vivace. 


y'y.^^T^^^yp-y^^-ripvpVp  TpnJ^'rPvpVfl'^ 


^  !>•'  J^  v  P  ','  p  f  p  V  I  p  i 


^ 


-=s^ 


First 
Allegro 


The  presentation  of  this  is  succeeded  by  a  number  of 
tremolo  figures  for  the  strings,  while  the  bassoon  trots 
along  with  quaint  staccato  step  in  the 
merriest  possible  way.  Soon  we  find 
another  link  with  the  introduction  in  the 
form  of  a  unison  phrase  for  the  strings,  now  staccato, 
which  stalks  along,  as  it  were,  from  a  pianissimo  to  a 
fortissi?}io,  and  then  conducts  us  to  a  pleasing  canon  for 
clarinet  and  bassoon — 


Clar. 


S«:>^Q 


One  other  idea — a  syncopated  one  for  the  strings — 
completes  the  material  of  this  movement,  and  after  the 
usual  repeat  we  enter  upon  the  development.  The 
ending  of  this  section  is  of  remarkable  beauty,  the 
drum  being  used  as  an  harmonic  factor ;  and  the 
hushed  chords  lead  by  skilful  enharmonic  change  from 

62 


Rhythm 


the  key  of  B  to  that  of  B  flat.  The  "  rush  up  "  to  the 
main  subject  is  even  more  exhilarating  than  at  first,  and 
the  same  mood  prevails  in  the  regular  recapitulation 
which  follows,  the  short  coda  bringing-  all  to  a  merry 
conclusion. 

A  gentler  and  deeper  note  is  touched  in  the  adagio — 
a  long  love-song  of  tender  expression  and  of  intense 
feeling.  In  the  very  first  bar  we  have  a 
rhythmic  idea  started  by  the  second  violins 
which  is  of  prime  importance,  and  is  allotted  to  every 
instrument  of  the  orchestra  during  the  course  of  the 
movement,  not  even  excepting  the  drums.  This  is  but 
a  preliminary  to  the  lovely  expressive  melody  now  sung 
by  the  violins — 


Love-Song 


Adagio. 


'ha:$r^pj 


m 


^ 


f: 


cresc. 


:z 


s 


the  last  bar  of  which  reintroduces  the  rhythmic  feature 
from  whence  the  accompaniment  is  in  part  derived. 
After  a  repetition  by  the  wood  wind,  an  episode  leading 
to  B  flat  major  conducts  us  to  the  second  subject.  This 
is   given    to  the  clarinet,  and    is  of  a  similarly  tender 

63 


Story  of  Symphony 

nature,  its  accompaniment  in  sextolets  by  the  strings 
being  delicate  and  graceful — 


Procedure 


The  movement  contains  a  wealth  of  loveliness  which 
permeates  every  bar,  and  the  utilization  of  matter  is 
remarkable  for  its  resourcefulness  as  well  as  for  its 
extreme  beauty. 

The  minuet,  so  called,  has  far  more  of  the  character- 
istics of  a  scherzo  than  it  had  in  the  hands  of  Haydn 
and  Mozart.  In  treatment,  too,  it  has  the 
attributes  of  the  lighter  and  more  humorous 
style,  especially  in  the  use  made  of  the  opening  idea  of 
the  violins.  More  allied  to  the  older  minuet  is  the 
section  labelled  trio,  a  somewhat  long  one,  which  leads 
to  a  return  of  the  minuet,  and  then  both  trio  and 
minuet  are  repeated  in  their  entirety — an  unusual  pro- 
cedure which  Beethoven  also  employed  in  his  Seventh 
Symphony.  The  movement  is  thus  in  five  sections, 
with  a  short  coda  to  wind  up. 

For  finale  we   have   a  busy  bustling  movement  on 
running  passages  of  semiquavers  which  seldom  cease, 

64 


Fifth   Symphony 


forming-  a  figure  of  accompaniment  when  they  are  no 
longer  subject-matter — 

Allegro  ma  non  troppo, 

"Vl.I-         ».-ga    >r  VlUfcVioU.         Cello  &Bj 

""  i       •  '^    'iVj 


A  melodic  theme  of  importance  is  also  heard — 

Wlod. 
VI 


The  movement  is  in  orthodox  form,  and  has  a  definite 
second  subject  in  F  given  to  the  oboe,  with   a  triplet 
accompaniment  for  the  clarinet.     The  whole  finale  is  of 
the  most  genial  type,  and  forms  a  fitting  ending  to  the 
gaiety  and  spontaneous  delight  of  the  entire  work. 

Colossal  in  its  majestic  power,  romantic  in  its  very 
essence,  and  titanic  in  its  inherent  ideas,  the'C  minor 

Symphony,  op.  67,  stands  out  as  one  of  the 

1  1     i  J  .1  •     •         r    T~,  C  Minor 

noblest  and  most  characteristic  of  Beet- 
hoven's works.  Coming  as  it  does  in  the  mid-path  of 
his  nine  symphonies,  it  is  unlike  its  fellows  on  either 
side,  and  by  its  nobility  and  majesty  holds  its  proud 
head  aloof  with  a  dignity  which  it  is  well  able  to 
sustain.  Beethoven  commenced  work  upon  it  soon 
after  the  completion    of  the  "  Eroica,"    and  the   same 

65  5 


Story  of  Symphony 

deep  seriousness  and  earnestness  are  apparent.  Various 
events  caused  its  production  to  be  deferred  until  1808, 
when  it  made  appearance  side  by  side  with  the 
**  Pastoral"  at  a  concert  at  Vienna  in  the  winter  of 
that  year.  It  was  gladly  received  as  an  exposition  of 
genius,  and  is  generally  held  to  be  the  most  popular  of 
the  symphonies  with  the  public. 

Its  most  distinctive  features  are  the  fierce  and  abrupt 
nature  of  the  opening  subject  of  the  first  movement, 
and  the  weird  mysticism  of  the  scherzo.  This  latter 
movement  runs  direct  into  the  finale,  being  connected 
by  a  curious  bridge-passage,  and  its  mysterious  notes 
are  later  on  introduced  into  the  directly  contrasted  and 
joyous  movement  which  succeeds  it. 

The  opening  Allegro  con  brio  begins  by  the  strings 
and  clarinets  rapping  out  those  four  hard  and  unsym- 
pathetic notes,  which,  separated  by  pauses, 

are  unlike  anything  else  in  the  whole  realm 
Fate 

of    music.       As    Beethoven    said   of    them, 

"  Such  is  the  blow  of  Fate  upon  the  door" — 

Allee-ro  con  brio. 

^  /> rf\ 


t^Wrm^X:^m  i  .1  LiJ 


They  determine   the   character   of  the    movement   and 
dominate   its   hue    from   first   bar   to  last.     The  main 

66 


Variations 


subject  is  but  a  continuation  of  this  idea,  while  contrast 
is  aflforded  by  the  melodious  character  of  the  second 
subject  in  E  flat — 


The  development  section,  soon  following-,  makes  use 
of  no  other  material  than  that  already  put  forward : 
manifold  devices  and  disguises  there  are,  but  the 
subject-matter  remains  the  same.  Alternate  chords  for 
wind  and  strings  gradually  reintroduce  the  recapitu- 
latory section,  which  is  diversified  by  a  short  and 
plaintive  cadenza  for  the  oboe.  Hereafter  nothing  calls 
for  comment  until  we  arrive  at  the  coda,  the  longest 
section  of  the  movement.  In  this  much  use  is  made 
of  fragments  of  the  second  subject  in  the  minor  key, 
and  a  bold  finish  is  reached. 

In  the  Andante  con  vioto  we  have  instances  of  Beet- 
hoven's power  as  a  writer  of  variations,  and  also  an 
example  of  the  limitations  of  the  orchestras  of  his 
period.  The  first  is  evidenced  by  the  diversified  treat- 
ment accorded  to  the  opening-  subject  on  its  various 
appearances  ;  the  second  by  the  fact  that  there  were  no 
horns  or  trumpets  in  the  key  of  the  movement,  and  that 
therefore  the  composer  introduced  a  little  fragment  in 

67 


Story  of  Symphony 

the  key  of  C  in  which  they  could  play  readily.  The 
artistic  skill  with  which  this  is  done  quite  condones  for 
the  imperfections  of  the  instruments  of  his  day. 

The  chief  melody  is  at  first  announced  by  the  violas 
and  'cellos  in  unison — 


A  continuation  of  this  in  the  same  manner  for  wind  and 
violins  leads  us  by  a  charming-  modulation  to  the 
passage  above  mentioned  for  the  brass — 


BraK. 


and  by  a  still  more  beautiful  harmonic  device  back  to 
the  key  of  A  flat  once  again.  The  first  variation  of  the 
theme  now  ensues  in  flowing  semiquavers,  and  the 
same  harmonic  progressions,  all  varied  in  orchestration 
and  style,  lead  us  to  its  third  presentation,  in  demisemi- 
quavers,  by  the  violins.  This  concluded,  there  is  a 
beautiful  ritornello  passage  for  wind  alone,  and  then 
further  varied  treatment,  some  part  of  which  is  in  the 

68 


Note  of  Mystery 


minor  key.  The  scoring"  is  rich  and  full  of  contrasted 
devices,  and  after  some  noble  and  beauteous  harmonies, 
a  triumphant  conclusion  is  attained. 

The  succeeding  allegro  is  notable  for  the  silent  sweep 
of  the  basses  over  the  notes  of  its  opening  subject — 


CelloA 
Bast. 


— a  mysterious  whisper,  as  it  were,  of  things  vast  and 
inscrutable.       In     great     contrast     to    this 
question-like  phrase  comes  the  bold  answer 
of  the  horns,  firm  and  confident,  reliant  and 
strong — 


Note  of 
Mystery 


^g^^^JJJlJ■lJJJlJ■lJJJlJ,■a;^ 


As  middle  section,  in  the  major  key,  occurs  a  fugaio 
passage  of  a  busy,  rumbling  nature,  in  which  the  lower 
strings  enunciate  short  fragmentary  passages  of  an 
interjectural  kind.  Then  we  have  a  return  of  the  intro- 
ductory portion  almost  in  the  nature  of  an  echo.  It  is 
the  same  music,  but  very  slightly  scored,  everything 
being  delicate,  ethereal,  and  mysterious.     Suddenly  we 

69 


Story  of  Symphony- 
are  launched  upon  a  chord  of  A  flat,  and  the  drum 
commences  to  reiterate  the  note  C.  It  is  the  mysterious 
and  unapproachable  passage  by  which  Beethoven  is 
linking"  this  movement  with  his  finale.  A  crescendo  is 
made,  and  then  with  a  great  outburst  of  the  full  band, 
to  which  for  the  first  time  in  the  history  of  symphony 
piccolo,  double-bassoon,  and  three  trombones  are  now 
added,  we  are  hurled  into  the  march-like  subject  of  the 
last  movement — 


The  jubilant  character  of  this  is  quite  removed  from 
the  moods  of  the  earlier  part  of  the  symphony,  which 
have  been  emotional  and  intense  rather  than  exultant. 
The  joyous  sweep  of  the  violins  through  rushing  semi- 
quavers, the  bold  arpeggio  flights  of  the  basses,  and 
the  fanfares  of  the  brass  all  emphasize  the  unbounded 
delight,  the  glorious  all-embracing  happiness.  Quite 
light  and  playful  is  the  string  melody,  accompanied  by 
triplets,  that  serves  for  second  subject — 


70 


Joyous   Finish 


The  movement  is  in  orthodox  binary  form,  and  the 
development  is  chiefly  on  the  triplet  idea,  with  much 
dignified  employment  of  the  trombones.  Before  re- 
capitulation an  allusion  to  the  preceding-  allegro  (or 
scherzo)  is  made.  Then  once  more  the  joyous  notes  of 
the  march  are  resumed,  and  a  splendid  and  lengthy 
coda  is  added.  The  final  presto  is  accompanied  by  a 
bass  which  is  reminiscent  of  the  opening  four  notes  of 
the  whole  symphony.  With  a  glowing  reiteration  of 
tonic  and  dominant  chords,  quite  in  the  Italian  style,  an 
emphatic  end  is  reached,  and  the  great  "C  minor" 
concludes  in  triumph,  noble  and  majestic  to  the  last. 


71 


CHAPTER  VII. 

BEETHOVEN:     LAST   FOUR    SYMPHONIES. 

Schopenhauer  on  Beethoven's  symphonies — A  "titled"  work — 
Beethoven's  views  on  titles — Headings  of  the  movements — A 
picture  of  nature — The  slow  movement—  Realism — A  village  band 
— The  storm — Thanksgiving — Symphony  in  A — Early  criticisms 
— The  opening  introduction — "The  apotheosis  of  the  dance" — 
A  solemn,  slow  movement — A  characteristic  scherzo — The  Bucolic 
finale — A  "little"  symphony — Lightness  of  mood — A  poor  recep- 
tion— Small  orchestra  employed — A  straightforward  movement — 
An  airy  allegretto — A  return  to  the  minuet — Originality  in  the 
finale — The  Choral  Symphony — Incongruous  elements — Beet- 
hoven's doubts — Greatness  of  the  whole — First  performance — The 
allegro — Its  themes — The  second  movement — The  adagio — The 
curious  "connecting  link" — Turkish  music. 

Schopenhauer,  in  Die  Welt  ah  Wille  und  Vorsiellung, 
has  some  pertinent  remarks  on  Beethoven 
and  his  symphonies.  "If,"  he  says,  "we 
look  at  pure  instrumental  music,  we  notice 

that    in    the    symphony    of    Beethoven    the    greatest 

72 


l*!"^ 


i 


[Photo  by  C.  Brasch  {Berlin). 


BRAHMS. 


Schopenhauer 


disorder  reigns,  and  yet  beneath  all  is  the  most  absolute 
order:  the  most  violent  strife,  which  immediately 
becomes  the  sweetest  concord.  It  is  rerum  concordia 
dtscors,  a  true  and  complete  picture  of  the  essential 
nature  of  the  world,  which  rolls  on  in  the  measureless 
complexity  of  numberless  shapes,  and  supports  itself 
by  constant  destruction.  At  the  same  time  all  human 
passions  and  emotions  speak  from  this  symphony :  joy 
and  sorrow,  love  and  hate,  fear  and  hope,  all  in  the 
abstract  only,  and  without  any  particularity ;  it  is 
really  the  form  of  emotion,  a  spirit-world  without 
matter.  It  is  true,  however,  that  we  are  inclined  to 
realise  it  while  listening-,  to  clothe  it  in  our  fancy  with 
flesh  and  blood,  and  to  behold  in  it  the  varied  scenes 
of  life  and  of  nature." 

True  as  this  is  of  the  symphonies  of  Beethoven  in 
general,  it  is  most  specially  true  of  the  Sixth  Symphony, 
op.  68  in  F,  for  here  we  have  the  great  Beethoven 
condescending  to  the  bestowal  of  a  tiile  upon  his  work. 
"Pastoral"  the  symphony  is  to  be,  and  moreover 
its  various  movements  have  each  a  sub-title,  so  that 
our  thoughts  may  be  definitely  turned  in  the  proper 
direction.  Let  it  be  noted  that  the  composer  adds  to 
his  title,  "More  an  expression  oi  feeling  than  a 
painting;"  therein  lies  much  of  the  force  of  Schopen- 
hauer's remarks.     Beethoven  has  here  descended  some- 

73 


Story  of  Symphony 

what  from  his  mighty  pedestal,  and  has  made  one  of 

his  rare  concessions  to  human  weakness  in  providing 

us  with  a  key  to  his  ideas.     No  longer  is  he  concerned 

with    the    profound    contemplation    of    a   hero,    as    in 

the    "Eroica,"     or    with     the     mighty    workings     of 

emotional  storms  and  passions,   as    in   the    C    minor: 

we  are  led  to  a  quieter,  calmer  mood,  to    a   musical 

interpretation    of    his    much-loved    Nature,    with     all 

her    soothing   charms,    her   soft    caresses,    her   simple 

elemental  joy. 

In  1815  Beethoven  saw  a  good  deal  of  an  Englishman 

named   Neate :    him    he    told    that  he   seldom    worked 

without   a  picture  in  his   mind.     This   may 

_,  ,  or  may  not  have  been  so,  for  Beethoven  was 

Titles  ^  .     '  , 

fond  enough  of  mystifying  his  hearer,  and 

deceiving  him  as  to  his  real  intentions.  But  of  this  we 
are  certain,  that  out  of  all  the  mass  of  his  compositions, 
Beethoven  "named"  but  few,  attached  programmes 
to  fewer,  and  ne'ver  gave  a  complete  idea  of  the  picture 
he  desired  the  listener  to  hear,  even  if  he  saw 
one  himself.  The  fancy  names  to  so  many  of  the 
sonatas,  such  as  "Dramatic,"  "Moonlight,"  and 
"Pastoral,"  are  so  many  fictitious  inventions  of  pub- 
lishers, and  are  thus  designated  without  Beethoven's 
authority. 

On  one  of  these  rare  occasions,  then,  when  Beethoven 

74 


Fancy  Names 


does  vouchsafe  some  explanation,  there  devolves  upon 
the  hearer  all  the  more  need  for  care  in  the  hearinof. 
Let  him  not  expect  a  panoramic  vision  in  so  many 
scenes,  incidents,  or  episodes.  Beethoven  wishes  to 
call  up  a  series  of  i7npressions — the  work  must  be 
listened  to  in  the  right  spirit,  but  the  listener  must 
hearken  for  himself,  and  not  expect  to  have  every 
detail  pointed  out  to  him. 

Even    of    these    sub-titles    which    head   the    move- 
ments,   Beethoven    was    not    so    very    confident — they 

exist  in  several  forms  in  his  various  manu- 

Movemcnts 
scripts  and  sketches,  thus  showmg  that  he 

was  a  little  doubtful  as  to  the  exact  wording  of  them. 

As  finally  modelled  they  stand  as  follows : — 

First  Movement. — The  cheerful  impressions  aroused 

on  arriving  in  the  country. 
Second  Mo'veme^it. — By  the  brook. 
Third  Movement. — Peasants'  merrymaking. 
Fourth  Movement. — Storm. 
Fifth  Movement. — Shepherds'  Hymn.     Gratitude  and 

thanksgiving  after  the  storm. 

Here  is  our  synopsis — we  have  here  no  drama  in  a 
nutshell;  it  is  merely  a  series  of  incidents,  and  without 
these  titles  the  movements  would  be  equally  beautiful 

75 


Story   of  Symphony 

and  delightful.  But  yet,  as  we  have  Beethoven's 
authority  so  to  do,  let  us  cast  ourselves  into  the 
properly  receptive  state  of  mind  for  listening  to 
them. 

We  must  divest  our  minds  of  all  thought  of  town  life, 
with  its  turmoil,  its  strife,  its  business,  its  pleasures, 
and  its  cares.  We  must  become  simple  and  guileless, 
basking  in  the  sun  of  God's  heaven,  listening  to  the 
singing  of  sweet  birds  and  enjoying  the  smell  of  fragrant 
flowers — childlike,  happy,  and  trustful. 

Are  we  yet  in  this  restful  mood?  If  not,  let  us  listen 
to  its  interpretation  in  the  simple  theme  with  which 
the  opening  allegro  commences  without  further 
prelude : — 


Allegro  ma  noo  troppo 
vi.r^ 


How  slight  and  simple  and  pleasing  all  this  is  !     We 
are  sitting  under  trees  on  the  fresh  grass, 
with  nothing  to  disturb  us,  and  no  sounds 
but  those  of  Nature's  voices.    And  how  true 
to  Nature  the  music  is  !     For  five  hundred  and  twelve 

76 


Picture  of 
Nature 


Voice  of  Nature 

bars  this  wonderful  movement  develops  and  proceeds 
either  with  material  from  this  melody  or  from  subjects 
absolutely  allied  to  it.  It  is  the  same  in  Nature;  the 
same  sounds  are  reiterated  again  and  again  and  again — 
hundreds,  thousands  of  times,  and  we  never  weary  of 
them.     Bars  such  as  the  following 


(b)-^^ 


are  repeated  and  repeated,  but  the  ear  never  palls. 
There  is  justification  for  every  note,  and  all  is  true  to 
the  idea  represented. 

From  the  formal  point  of  view  this  movement  is 
absolutely  regular :  the  second  subject,  in  C  major,  is 
of  much  less  importance  than  the  first ;  it  is  only  a 
contrast  and  a  foil  to  the  more  alluring  charm  of  the 
chief  rhythmic  idea.  In  the  coda  the  pastoral  feeling 
becomes  stronger  than  ever.  Just  towards  the  end 
clarinet  and  bassoon  hold  a  comical  duet,  which  the 
rest  of  the  band  promptly  squashes — it  is  the  distant 
strain  of  some  rustic  musicians,  perhaps,  but  the  sounds 
of  Nature  soon  shut  them  out. 

Well,  then,  we  are  in  the  country,  and  we  have 
received    many   pleasant    impressions    upon    our   first 

77 


Story  of  Symphony 

arrival.  Our  feet  have  led  us  through  cornfields  and 
pasture,  over  hill  and  dale,  and  beneath  rustling- 
trees,  until,  somewhat  wearied,  we  rest  us  "by  the 
brook." 

Very  gentle  is  its  murmur — 


Andante  molto  mosso. 

Violins  &Viola«. 


(Cello*  aa  octave  loitpr.) 


This  figure — sometimes  in  quavers,  sometimes  in 
semiquavers — like  Tennyson's  brook,  is  inclined  to 
"  run  on  for  ever."  There  are  few  bars  in  all  this 
lengthy  movement  in  which  it  is  not  present.  The 
prevailing  impression  is  the  same  as  in  the  first  move- 
ment— ^joyousness,  calmness,  contentment ;  and  here, 
above  all,  quiet,  rest,  and  peace. 

The  allied  themes — 


(c) 


¥ 


^ 


Basfnt. 


are  in   the   same  vein.     Our  siesta  by  the  brook  is  a 
long  one,  we  are  soothed  to  refreshing  slumber,  from 

78 


Realistic   Effect 

which    the    coda    rouses    us    by  a  piece   of  realism  as 

vivid  and  startling-  to  the  critics    of  Beethoven's  day 

as    the    bleating    sheep    and   wind-mills    in 

^  ,    _,        ^    .  ,  Realisms 

Strauss    Do7i   Quixote  are  to   modern   ears. 

Indeed,  this    coda,   with   its  imitation    of   nightingale, 

quail,  and  cuckoo,  proved  an  almost  insuperable  bar  to 

the  presentation  of  this  symphony  in  its  early  days  of 

existence.     Musically  it   is    exquisitely  apportioned  to 

all  that  precedes  it,  and,  but  for  its  having  been  labelled 

in  the  score,  might  have  passed  almost  unchallenged. 

To-day  we  can  rejoice  in  its  elegant  simplicity  and  its 

singular  appropriateness: — 


,  Ob. (Quail)  pEP 

Flatn  (Nightingale)    ^^  ^  _^      _        J^       ' i7\ 


i 


Clar.  (Cuckoo) 

The  third  movement,  the  merrymaking  of  the  peasants, 

is    a    light    and    dainty   scherzo.      After    a 

,  ,.  .  •  Village 

delicate  opening-  we  come  soon  to  a  quaint 

imitation  of  a  village  band;  the  oboe  starts 

a  theme  all  out  of  time  to  the  accompaniment  of  violins 

and  bassoon,  thus — 

79 


Story  of  Symphony 


TrUsc^ 


Then  we  are  suddenly  hurled  into  a  tumultuously 
scored  rustic  dance,  a  representation  of  noisy  revelry. 
All  this  is  quite  boisterous,  and  the  return  to  the 
delicacy  of  the  scherzo  is  very  acceptable. 

Suddenly,  without  any  warning,  the  scherzo  ceases, 
and  a  rumbling-,  muttering  sound  of  tremolo  notes  in 
the  strings  is  heard — it  is  the  distant  rumble 
of  the  storm.  A  staccato  passage  for  the 
violins  suggests  the  pattering  of  the  rain.  Trombones 
and  piccolo  are  added  to  the  score,  fearsome  chords 
resound,  and  the  'cellos  and  basses  growl — very  much 
at  cross  purposes  with  one  another — on  short  scale 
passages — 


Storm 


which  produce  an  effect  of  confusion  and  grimness. 

The  storm   increases;    little  jerky  passages    on   the 
violins  suggest  lightning,  while  the  rumble  of  thunder 

80 

/ 


Seventh   Symphony 


Thanks- 
giving 


is  generally  present.  Chromatic  scales  indicate  that  the 
storm  is  at  its  height ;  then  the  noise  of  the  tumult 
quietens  down,  the  thunder  dies  into  silence, 
and  a  happy,  solemn  phrase  leads  us  into 
the  final  movement  of  joy  and  thanksgiving. 

The  theme  of  this,  a  kind  of  pastoral  jodelling  of 
clarinet  and  horn,  is  of  a  kind  that  one  may  hear  in  the 
Bavarian  Alps  or  in  Tyrol  to-day.  The  main  theme  of 
the  movement — 


and  its  variations  are  the  chief  material  employed  for 
this  finale,  which,  like  the  whole  symphony,  is  a  model 
of  exquisite  elegance  of  detail  and  charmingly  calculated 
effect.  As  a  motto  for  the  work  we  might  well  quote 
from  Browning — 

"God's  in  His  Iieaven — 
All's  right  with  the  world." 

"A  grand  Symphony  in  A,  one  of  my  best  works." 
In  these  terms — quite  unusual  for  him,   be  it  noted — 
Beethoven    spoke    of  this  work   in  a  letter 
written  in  1815.     Posterity  has  set  the  seal  -a 

of  approval  upon  his  own  verdict,  and  rejoices 
in  the  romantic,  glowing,  vivacious  "No.  7,"  op.  92. 

81  6 


Story  of  Symphony 

Penned  in  1812,  it  comes,  after  a  somewhat  lengthy 
interval  of  four  years,  next  to  the  "  Pastoral,"  and  gives 
evidence  of  the  development  of  its  composer's  person- 
ality, his  more  humorous  outlook  upon  life  and  upon 
the  world,  and  his  complete  emancipation  from  the 
earlier  influences  of  Haydn  and  Mozart. 

In  form  it  contains  no  real  point  of  originality.  But 
although  the  shape  and  mould  of  the  symphony  is  on 
conventional  lines,  the  treatment  of  ideas  is  altogether 
novel  for  the  period,  and  some  features  proved  stumbling- 
blocks  in  the  path  of  its  original  success. 

The  Seventh  Symphony,  however,  had  not  to  battle 
for  favour  quite  so  hard  as  some  of  its  predecessors. 

True  it  is  that  amongst  the  more  reserved 

Early  . 

/ ,  musicians  of  Northern  Germany  it  was  long 

Criticisms     .  .    .  ,-       ,     ,  ,       ^, 

m  gammg  a  foothold.     The    sapient  critics 

of  Leipsic  declared  that  such  music  as  that  of  the  first 

and  last  movements  could  only  have  been  composed  by 

one  in  "an  unfortunately  drunken  condition,"  whereas 

Weber  is  said  to  have  exclaimed  that  Beethoven  was 

now  ripe  for  the  madhouse.     These,  after  all,  were  but  a 

comparatively  small    number    of  hostile    and  mistaken 

criticisms,    and    the    work   speedily    found    favour    in 

Vienna,  and  upon  its  production  in  London  in  1817  at 

the  hands    of  the    Philharmonic    Society.       Even    the 

least  friendly  critics  found   beauty   at    a  first   hearing 

82 


First  Performance  of  ^'  No.  7  " 

in    the  lovely   allegretto,    and   were   unanimous   in  its 

praise.     The  length    of  the   work   was  objected  to  by 

some,  and  it  is,  with  the  exception  of  the  "Choral," 

the  longfest  of  the  mighty  nine.     But  its  beauties  are 

characteristic,  and  may  truly  be  said  to  abound  in  the 

score  from  the  first  bar  to    the  very    last.     Beethoven 

himself  conducted  the  first  performance  in  Vienna  on 

December  8th,  1813,  at  a  concert  given  by  Maelzel,  the 

inventor    of  the    metronome.     The  last-named  person, 

with  but  little  feeling  for  incongruity,  introduced  into 

the    same    programme     two    Marches     for     his    own 

Mechanical  Trumpeter.     The  Symphony  was,   spite  of 

this,  most  successful,  and  the  allegretto  was  encored, 

much  to  Beethoven's  delight  and  gratification. 

Nobility  and  dignity  are  the  chief  features  of  the  pre- 

ludial    introduction,    here    developed    on    grand    lines. 

The      wind-instruments      successively     and 

Intro- 
imitatively  start  on  a  theme  derived  from  the         , 

■'  ^  auction 

arpeggio,  the  full  orchestra  commenting  and 
supporting  with  full  chords  at  intervals.  The  violins 
then  begin  to  ascend  through  soft  scale-passages,  and 
a  crescendo  is  worked  up,  arpeggio  and  scale  figures 
being  here  combined.  After  some  treatment  of  this 
motive,  a  new  one  of  melodic  charm  is  heard  in  the 
unrelated  key  of  C,  and  is  thus  announced  by  the 
oboe — 

83 


Story  of  Symphony 


Poco  sostenuto. 


do  Ice 


When  this  is  replayed  by  the  strings,  the  oboe  and 
bassoon,  by  reiterated  statements  of  a  single  note,  give 
a  hint  as  to  the  importance  of  such  reiterations  in  what 
is  to  follow.  The  material  now  set  forth  is  repeated  in 
other  keys.  It  is  worthy  of  note  that  there  seems  to  be 
no  attempt  to  use  the  subject-matter  of  this  introduction 
for  any  later  part  of  the  Symphony.  In  this  it  differs 
from  the  more  modern  methods  of  procedure,  and  one 
regrets  that  the  lovely  theme  above  quoted  is  no  more 
to  be  heard.  After  its  final  presentation  in  F,  the 
orchestra  commences  that  wonderful  series  of  repetitions 
of  the  dominant  (E)  which  the  critics  at  first  found  so 
hard  a  pill  to  swallow.  Twice  broken  in  upon  by  frag- 
mentary snatches  of  melody,  it  is  soon  heard  alone  in 
dialogue  form  between  strings  and  wind.  Musically 
the  use  of  the  idea  is  to  lead  from  the  sostenuto  to  the 
vivace.  This  is  effected  by  rhythmic  changes  and 
devices,  and  we  are  almost  insensibly  drawn  into  the 
swing  of  the  f  movement,  when  flute  and  oboe  establish 
the  fact  that  the  quick  section  has  begun. 

The  jovial,  easy-going  principal  theme,  lightly  accom- 
panied, is  heard  on  the  flute  alone — 

84 


Apotheosis  of  the   Dance 


Vivace 
Fi.* 


tf 


m 


rrfl^^r^i^^R 


Its  continuation  is  a  little  broken  up  by  imitations  of 
the  strings,  which  in  their  turn,  after  a  pause,  give 
vigorous  presentation  of  the  same    melody. 

A  feature  not  to  be  overlooked  at  this  point 

^-u       \     t-u  1.        •         •      ^t_      1  J  Apotheosis 

IS  the  rhythm  set  gomof  m  the   basses   and  ,    . 

,      .  '      ,  .  ,     .  of  the 

the  brass,  which  is  hardly  ever  relinquished  ^^ 

•^  ^  Dance 

liie  whole  way  through,  and  which  has 
helped  to  establish  for  this  work  the  reputation  of  the 
most  rhythmic  of  the  Beethoven  Symphonies,  and  led 
Wagner  to  describe  it  as  "  the  Apotheosis  of  the  Dance." 
There  is  very  little  of  the  usual  episodical  working 
towards  the  second  subject  or  second  set  of  themes, 
these  occurring  almost  immediately.  Beginning  in  C 
sharp  minor  and  soon  modulating  to  E,  the  chief  of 
these  may  be  quoted — 


85 


Story  of  Symphony 

The  development  section  is  wonderful  and  masterly 
in  its  workmanship.  We  never  escape  from  the 
prevalent  rhythm,  but  the  variety  of  treatment  is  mar- 
vellous. Sometimes  in  soft  whispering  scale-passages, 
sometimes  in  boisterous  imitative  arpeggios,  now  in  the 
wind,  now  in  the  strings,  it  is  always  with  us  ;  and 
yet  in  all  this  long  movement  there  is  no  feeling  of 
monotony.  Through  all  the  mazes  of  the  working  out, 
and  of  the  regular  recapitulation  which  follows,  it  holds 
sway,  and  Beethoven  seems  to  glory  in  it.  Only  in  the 
coda  does  he  seek  other  devices  when,  with  a  fine 
crescendo,  he  gives  ten  repetitions  of  this  ornamental 
pedal-bass — 


Even  above  this  the  rhythm  asserts  its  sway  at  length, 

and   the  triumphant   peroration    to    the    movement    is 

almost  entirely  concerned  with  it. 

The  allegretto,  the  second  section  of  the  symphony, 

and  really  the  slow  movement,  is    undoubtedly  one  of 

its    composer's  most   ideal    utterances.     Its 

emn         solemn      march-like      opening     theme,      its 
Movement  ,  ,      .  .    , 

ponderous   heavy   tread,    its    consummately 

lovely  counter-theme  (a  triumph  in  the  practical  use  of 

simple    and    double    counterpoint),    and    its   contrasted 

86 


Combined  Melodies 


middle  section  are  all  imperishable  in  their  beauty. 
After  an  indefinite  chord  for  the  wood-wind,  the  main 
idea  is  announced,  and  will  be  seen  to  be  one  of  pulsating 
rhythm  rather  than  of  melody — 


Allegretto 


-^g^^^ 


It  is  given  to  the  lower  strings,  the  violoncellos  being 
divided,  and,  after  its  first  presentation,  is  re-stated  with 
its  beautifully  contrasted  counter-theme — 


As  more  and  more  of  the  orchestra  enters  with  one  or 
other  of  these  melodies  (which,  it  may  be  seen,  are 
capable  of  being  inverted),  a  lengthy  crescendo  is 
worked  up.  Then,  while  the  first  rhythm  is  maintained 
by  the  basses,  pizzicato,  a  change  of  key  to  the  major 
brings  a  new  theme  for  the  clarinet  and  bassoon — 


^^ 


^fHiM^^^'m^^ 


87 


Story  of  Symphony 

This  affords  relief  and  contrast,  especially  by  its  triplet 
accompaniment.  We  are  then  quite  ready  for  a 
resumption  of  a  discussion  of  the  first  themes,  which 
now  take  more  animated  form,  eventually  leading"  off 
into  a-fugato  for  the  strings.  A  repetition  of  the  major 
strain  ensues,  after  which  the  chief  idea  returns  finally, 
and  this  time  alone.  Moreover,  its  treatment  is  changed: 
it  is  played  sectionally  by  different  parts  of  the  orchestra 
(the  strings  pissicato),  and  concludes  with  the  same 
sad,  indefinite  inversion  of  a  chord  with  which  the 
movement  opened. 

The  third  movement,  a  scherzo,  although  not  so 
named,  is  in  Beethoven's  most  characteristic  manner, 
and  strongly  reminds  one  of  the  similar  sections  of  his 
"Eroica"  and  "Pastoral"  Symphonies.  The  intro- 
ductory bars  will  suffice  to  give  an  indication  of  its  style: 
Presto, 


^^^^^^^^Sj^trrrtrr^^ 


The   contrast   of  the    loud    commencement,    with  the 

tripping  grace  of  the  measures  that  follow,  offers  plenty 

of  material,  of  which  the  composer  makes 

splendid  use.       Specially   interesting   is   his 
istic 
_  modulatory     scheme,     which    is     bold    and 

effective.     The  middle  section  is  unlike  any- 
thing else  in  the  realm  of  music,  although  its  source  is 

88 


Pilgrims'  Hymn 


said  to  have  been  a  hymn  sung-  by  Austrian  pilgrims. 
Beethoven  uses  it  in  full  chords  for  the  wood-wind, 
accompanied    by    long   holding   notes    for    the    upper 


strmgs — 


wind 


The  little,  unimportant-looking  figure  of  the  last  two 
bars  of  our  extract  is  soon  transferred  to  the  horn, 
where  it  is  made  to  serve  as  a  kind  of  perpetual  accom- 
paniment to  the  second  part  of  the  melody.  It  increases 
in  pace  as  the  crescendo  is  worked  up,  after  which  the 
full  orchestra  sonorously  sings  through  the  melody. 
Then  it  is  heard  again  in  the  gradual  resumption  of  the 
presto.  The  whole  of  the  foregoing — both  presto  and 
middle  section — is  now  repeated  in  extcnso.  This  is 
unusual,  and  had  only  once  been  done  before.  Later 
the  plan  was  developed  by  Schumann,  who,  however, 
supplied  a  fresh  middle  section  on  repetition.  This 
concluded,  the  whole  presto  is  restated  for  a  third  time, 
whereupon  the  D  major  melody  starts  once  more.  We 
begin  to  think  that  we  have  heard  quite  enough  of  it, 
and  that  Beethoven  has  made  a  mistake.  This  is, 
however,  one  of  his  surprises,  for  after  four  bars  only 

89 


Story  of  Symphony 

he  brushes  it  aside  with  a  few  bright,  quick  chords,  and 

the  movement  is  over. 

The  finale,  tremendously  vigorous,  almost  bucolic,  is 
a  joyous  rush  of  bright,  tumultuous  notes, 
much  marked  by  false  accents  and  synco- 
pated accompaniments.     Here    is    the  chief 

theme,  foreshadowing  the  style  of  the  whole — 


Bucolic 
Finale 


This  and  its  developments,  some  of  which  are  of  a 
quieter  character  (although  the  rhythmic  vigour  is 
always  to  be  felt)  lead  to  a  more  graceful  and  playful 
second  subject  in  C  sharp  minor. 

This  exhilarating  finale  is  in  orthodox  sonata  form. 
The  recapitulation  is  regular,  and  only  in  the  coda  does 
the  wild  impetuosity  of  the  music  become  somewhat 
more  restrained.  This  is  eflfected  by  the  employment 
of  legato  passages  for  the  strings,  which  eventually 
settle  down  over  another  ornamental  pedal,  of  which 
noble  use  is  made.  After  a  weighty  climax,  this  buoy- 
ant finale  hurries  along  to  its  end,  joyous  and 
tumultuous  to  its  final  cadence. 

"A  little  one."  Thus  affectionately  and  half  humor- 
ously was  Beethoven    inclined  to  speak  of  his  Eighth 

90 


Eighth   Symphony 

Symphony,  op.  93,  in  F.  Truth  to  tell,  it  is  no  little 
one  if  sound  work  and  exquisite  musicianship  be  con- 
sidered.      It   is   the    shortest    of  the    nine, 

A  "  Littip  " 
and  moreover  does  not  contain  an  example 

Symphony 
of    those    mii,^hty    slow    movements    which 

must  have  cost  their  creator  so  much  in  thought  and 

in  feeling-.       So  that  it  is,  perhaps,  of  slighter  calibre 

than  the  other  symphonies,  but  none  the  less  a  work 

of  genius  and  of  superlative  merit.      Its  most  distinctive 

feature  is  the  short   allegretto   which    takes  the  place 

of  the  ordinary   slow    movement,  and    which    is    of  a 

piquant  nature,  somewhat  unusual  with  its  composer. 

The    third    movement    returns    to    the    old    form,    the 

minuet,  in  place  of  the  more  usual  scherzo. 

Certainly  it  is  the  most  light-hearted  and  playful  of 

all  the  symphonies,  and  there  is  not  a  single  movement 

which  exhibits  that  tremendous  earnestness 

,.,,.,_,,  ,,      .  Lightness 

and  depth  which    Beethoven    usually  mcor-         ,  „ 

.         .  .  .  oi  Mood 

porates  with  his  more  serious  outpourings. 

A  reason  for  this  may  perhaps  be    found  in    the  short 

space  of  time  in  which  it  matured — four  months.     With 

Schubert,   Mozart,  or  Mendelssohn  this  would  perhaps 

have  been  a  long  time,  but  Beethoven's  usual    manner 

was    to    collect    his    materials    very    gradually,    very 

selectively :    to  prune    them,    modify   them,    and    alter 

them  until    in  their   final    metamorphosed    shape  they 

9-1 


Story  of  Symphony 

bore  little  external  resemblance  to  the  original  idea. 
Traces  of  such  careful  work  exist  also  in  connection 
with  the  Eighth  Symphony,  but  not  nearly  in  such  pro- 
fusion as  is  usual ;  and  as  a  matter  of  fact  the  whole 
work  seems  to  have  been  completed  in  the  summer  of 
1812,  very  soon  after  the  final  touches  had  been  be- 
stowed upon  the  much  grander  and  finer  Seventh 
Symphony. 

The  fact  that  the  work  is  lighter  in  texture  than 
its  predecessors  by  no  means  presupposes  that  any 
apology  for  such  is  necessary.  Beethoven's  work  may 
now  and  then  have  been  unequal,  but  there  is  no  falling 
off  in  this  symphony  in  quality  of  idea,  or  in  delightful 
and  consummate  mastery.  Perhaps  the  composer  was 
a  little  wearied  after  a  striving  with  such  Titans  as  the 
C  minor  and  A  major  Symphonies.  Whatever  the 
reason,  in  this  particular  work  he  has  ceded  to  us  a 
fresh,  spirited,  and  magnificent  piece  of  orchestral 
writing.  Save  the  Choral  Symphony,  it  was  his  last 
essay  in  this  direction,  and  the  remaining  fifteen  years 
of  his  life  witnessed  no  further  purely  orchestral 
symphonies. 

It  differs  from  any  other  of  his  later  works  on  a  large 
scale  by  its  easy  light-heartedness  (common  enough  in 
Beethoven  in  a  single  movement,  but  not  often  carried 
through  an  entire  work),  by  its  playful,  humorous  ideas, 

92 


Use  of  the  Drums 

and  by  the  absence  of  any  real  slow  movement.  Its 
first  production  took  place  in  Vienna  in  1814,  and  a 
poor  reception  was  accorded  to  it — a  circumstance 
perhaps  due  to  the  fact  that  its  performance  was  almost 
immediately  preceded  by  that  of  the  Seventh  Symphony, 
a  work  of  so  unlike  calibre  that  it  would  be  calculated 
to  throw  an  audience  into  a  different  kind  of  mood  to 
that  in  which  the  "  little  "  Symphony  should  be  heard. 
Beethoven's  special  characteristics  were  but  little  under- 
stood, and  his  half-wayward,  half-humorous  treatment 
of  his  musical  ideas  fell  flat  for  want  of  knowledg-e 
of  his  moods,  and  for  lack  of  recognition  of  the 
extraordinarily  diverse  qualities  of  which  he  was  the 
possessor. 

Only  a  small  orchestra  is  employed  (one  pair  of  horns, 
no  trombones),  but  traits  of  originality  peep  out  in  the 
tuning"  of  the  drums  in  octaves  for  the  finale,  a  departure 
for  which  there  was  no  precedent.  Notwithstanding 
that  most  of  the  orchestration  is  masterly,  one  some- 
times longs  for  more  power  in  the  bass  department — 
the  return  of  the  main  subject  in  the  'cellos  and  basses 
in  the  first  movement,  for  example,  although  marked 
fff,  being  almost  indistinguishable  amidst  the  more 
powerful  reiterated  chords  of  the  brass  and  wood-wind. 

The  opening  allegro  is  founded  upon  a  very  straight- 
forward and  singable  subject  allotted  to  the  violins,  the 

93 


Story   of  Symphony 


wood-wind  having-  the  second  phrase.  It  is  regular, 
rhythmic,  and  square-cut,  and  at  once  by  its  unpre- 
tentious character  gives  a  key  to  the  whole  work — 


cj.  do  Ice 


This  is  immediately  followed  by  an  episodical  passag^e 
of  a  rhythmic  nature  for  the  full  orchestra,  the  violins 
still  taking-  the  lead  with  a  definite,  although  a  less 
distinctly  melodic,  idea.  An  abrupt  pause,  and  a  modu- 
lation to  the  key  of  D  brings  us  somewhat  suddenly  to 
the  second  subject — also  given  to  the  violins — com- 
mencing in  D  and  finishing  in  C.  As  accompaniment 
the  bassoon  trips  quaintly  along — 
Vlns.t&XJCtaTes 


With  some  tremolo  passages,  and  mysterious  arpeggios 
founded  on  the  chord  of  the    diminished  seventh,    the 

94 


Some  Doubtful  Scoring 

music  takes  a  more  dramatic  turn,  and  new  melodies, 
mostly  based  on  the  scale,  occur  for  the  wood-wind, 
outbursts  of  full  chords  occasionally  intervening-.  A 
climax  in  the  key  of  C  is  reached,  and  the  first  part  of 
the  movement  comes  to  an  end  with  an  important 
octave  passag^e  of  which  much  use  is  made  later.  The 
opening-  section  is  then  repeated. 

The  development,  which  is  not  long,  concerns  itself 
almost  entirely  with  the  first  bar  of  the  movement  and 
the  dropping  octaves.  As  it  continues,  wonderful  use 
is  made  of  both  little  fragments,  the  former  especially 
being  employed  with  amazing-  ingenuity.  Devices  of 
imitation  at  close  distance  between  the  upper  and  lower 
strings  increase  the  excitement,  and  at  length  in 
bassoons,  'cellos,  and  basses  the  main  subject  reappears. 
It  is  here  that  one  sighs  for  a  trombone,  the  climax 
seeming  to  need  more  power.  The  wood-wind  then 
repeats  the  subject,  after  which  Beethoven  continues 
his  melodic  treatment  of  the  bass  instruments,  but  now 
contrives  a  new  and  beautiful  counter-theme  in  the 
violins  above  them.  Before  the  return  of  the  second 
subject  there  is  again  an  abrupt  pause,  and  the  melody 
is  heard  first  in  B  flat  and  then  in  F.  All  the  succeeding- 
matter  is  regularly  recapitulated,  and  the  important 
coda,  like  the  development,  freely  employs  the  first  bar 
of    the    movement.     After   much   development,    rising- 

95 


Story  of  Symphony- 


Airy 

Allegretto 


to  a  great  pitch  of  exultation,  the  actual  ending-  is  quite 
soft,  pizzicato  chords  for  the  strings  alternating^  with 
the  tiniest  effects  for  wood. 

In  place  of  the  usual  slow  movement  comes  an 
allegretto  scherzando.  Berlioz,  in  one  of  his  happy 
phrases,  speaks  of  this  as  "having  fallen 
from  heaven  straight  into  the  brain  of  its 
author."  This  charming  Gallicism  is  not 
actually  a  fact,  as  the  notebooks  prove,  but  the  con- 
veyed suggestion  of  spontaneity  and  grace  is  true 
enough.  Delightfully  piquant  and  light,  this  fairy 
music  might  almost  have  emanated  from  the  pen  of  a 
nineteenth-century  French  composer.  It  has  the 
sparkle  of  Rossini  or  Auber,  and  a  delicate  airiness  that 
quite  removes  it  from  the  plane  of  Symphony.  The 
chief  motive  is  thus  announced  in  the  strings,  accom- 
panied by  light  staccato  chords  for  wood-wind — 


The  most  Beethovenish  feature  is  the  occasional  inter- 
jection of  boisterous  chords.  A  dialogue  between 
violins  and  basses  is  kept  up,  one  answering  the  other 
in  a  pert  and  frolicsome  manner. 

A  new  theme  having  the  same  figure  of  accompani- 

96 


The  Finale 

ment  beneath  it  now  appears,  and  the  movement  runs  a 
regular  course,  winding  up  with  a  charming  little  coda, 
which  has,  however,  a  noisy  ending. 

The  third  movement  again  differs  from  the  stereo- 
typed, and  is  a  minuet  and  trio  instead  of  a  scherzo. 
Its  melodies  are  suave  and  flowing  rather  than  dis- 
tinctive. 

The  final  movement,  allegro  vivace,  contains  much 
that  is  characteristic,  and  a  wealth  of  development  of 
material.  The  main  feature  is  a  persistent  rhythm  of 
triplets,  present  almost  from  first  to  last ;  and  the 
ingenuity  with  which  this  idea  is  treated  is  astonishing. 
As  first  heard  in  the  violins  it  runs  as  follows — 


Its  continuation  proceeds  quietly  and  simply  until  we 
are  startled  by  a  sudden  loud  outburst  of  the  orchestra 
on  C  sharp,  a  note  apparently  quite  foreign  to  the 
tonality.  This  for  the  present  leads  nowhere,  and  we 
return    to    the    key    of  F.       The    triplets   continue,    a 

97  7 


Story  of  Symphony 


dropping-  arpeggio  fig^ure  supplying  contrast ;  and  after 
working-  towards  the  key  of  C,  the  second  subject 
appears  in  the  unusual  key  of  A  flat, — 


m 


^ 


VI 


m 


^^^=U-M-^ 


$ 


^ 


^Ff=^ 


rTrtr^=^ 


1 


the  key  of  C  being  resumed  when  the  wind  take  up  the 
charming  melody.  The  triplets  now  become  triplets  of 
crotchets  instead  of  quavers,  thus  giving  the  impression 
of  a  slower  rate  of  movement.  Then  with  a  short 
syncopated  figure  this  section  terminates,  and  the 
development  is  proceeded  with.  This  and  the  re- 
capitulation are  regular  but  interesting,  especially  in 
the  unusual  tuning  of  the  drums  in  octaves.  The  coda, 
which  follows  after  a  pause,  is  long  and  important, 
more  especially  from  the  use  of  a  new  sustained  theme 
employed  against  the  persistent  triplets.  Dignity  and 
weight,  features  that  have  hitherto  not  been  prominent 
in  the  finale,  characterize  this  idea.  After  a  while, 
however,  we  come  back  to  the  octaves  of  bassoon  and 
drum,  and  this  time  the  curious  C  sharp  is  seen  to  have 
harmonic  significance,  for  it  takes  us  into  the  key  of  F 
sharp  minor — a  remote  tonality  from    which  trumpets 

and  horns  drag  us  back  into  the  key  of  F.     Here  we 

98 


Ninth   Symphony 


seem    to    be    nearing    a    finish,    but    Beethoven    has 

another  surprise  in  store  for  us — now  in  the  shape  of  the 

second  subject,  which  appears  both  in  the  violins  and 

(later)  in  the  basses.     Another  pause,  and  then  matters 

are  hurried  on,  soft  phrases  and  chords  for  the  wind — 

mostly  restatements    of  previous  material — leading-   us 

to   a    final  cadence    of   oft-reiterated    chords,    and    the 

Symphony  closes  with  a  joyous  outburst. 

The  Choral  Symphony  of  Beethoven,  op.    125,  in  D 

minor  (No.  9),  is  one  of  a  small  class  of  works  in  which 

the  interest  centres  partly  in  the  orchestral, 

,.,,,.  ,  .  Choral 

partly  in  the  choral  portions.     As    opposed 

oymphony 
to  a  symphony  in  the  ordinary  sense  of  the 

term — where  the  interest  is  throughout  orchestral — or 
to  a  choral  cantata — where  the  voices  reign  supreme, 
the  orchestra  having  only  the  subsidiary  role  of  accom- 
paniment— we  are  here  compelled  to  give  our  attention 
in  one  part  of  the  work  to  the  instrumental,  and  in 
another  part  to  the  vocal  features. 

Now  this  is  necessarily  a  hybrid  form,  and  even  the 
mighty  genius  of  Beethoven  has  perhaps  scarcely  made 
a  success  of  it.  The  instrumental  sections  (three  move- 
ments) may  be  enjoyed  on  their  own  account,  and  are 
often  performed  separately.  The  final  choral  section 
might  perhaps  be  treated  in  the  same  way.  But  the 
two  elements  are  somewhat  incongruous,  and  although 

99 


Story  of  Symphony 

the  power  of  Beethoven  was  such  that  his  Choral 
Symphony  is  a  work  for  all  time,  the  experiment  has 
rarely  been  repeated,  and  still  more  rarely  with  good 
result.  Beethoven  himself  had  previously  experimented 
in  this  direction  with  a  little-known  "Choral  Fantasia." 
The  g-reatest  followers  in  this  path  are  Mendelssohn 
with  his  Hymn  of  Praise,  and  Liszt  in  his  "Faust"  Sym- 
phony, where  a  chorus  is  employed  in  the  Finale. 
Mendelssohn's  three  movements,  although  absolutely 
symphonic  in  design,  are  really  but  an  exceptionally 
lengthy  Prelude  to  a  fully  fledged  Cantata  with  solos, 
duets,  choruses,  etc.  Beethoven's  work,  however,  is 
more  akin  to  a  symphony  of  ordinary  mould,  in  so  far 
as  the  movements  are  four  in  number,  the  last  beine-  a 
set  of  choral  variations. 

It  is  interesting  to  know  that  Beethoven  had  his 
doubts,  after  the  work  had  been  written  and  performed, 
as  to  the  wisdom  of  the  employment  of  the  chorus  in 
the  last  movement:  he  even  sketched  an  alternative 
Finale,  to  be  purely  instrumental.  However,  nothino- 
came  of  it.  We  might  almost  wish  that  it  had,  and 
that  his  setting  of  portions  of  Schiller's  "  Ode  to  Joy" 
might  have  formed  a  separate  work.  Of  course  there 
are  marvellously  beautiful  things  and  imperishable 
moments  in  this  choral  Finale,  but  no  one  can  assert 
that  it  reaches  the  high  plane  of  interest  attained  by  the 

lOO 


Vocal  Ending 


foregfoing-  movements.  These  have  really  no  connection 
whatever  with  the  last  movement,  and  we  know  that 
Beethoven  was  not  at  his  best  as  a  writer  for  chorus. 
He  had  had  in  his  mind,  ever  since  early  days  at  Bonn, 
the  desire  to  set  Schiller's  words,  but  he  had  great 
difficulties,  when  it  came  to  the  point,  in  the  selection 
of  suitable  portions,  and  in  connecting-  his  instrumental 
movements  with  his  Finale. 

For  this  purpose  he  tried  various  experiments,  the 
outcome  of  which  was  the  curious  orchestral  passage  in 
which  he  seems  to  try  over  the  ideas  of  all  the  previous 
movements,  and  to  reject  them  all  as  unfitted  for  his 
purpose.  On  this  we  shall  comment  later — we  would 
now  say  a  few  words  as  to  the  Symphony  viewed  as  a 
complete  work. 

There  can  be  scarcely  anything  finer  in  all  music  than 
the  opening  movement,  so  severely  simple,  and  at  the 
same  time  so  majestic  in  its  ideas.  Technically,  its 
manifold  manipulation  of  material  is  little  short  of 
marvellous,  and  its  expressive  qualities,  especially  in 
the  Coda,  are  very  great.  The  Scherzo  is  the  longest 
and  in  many  ways  the  most  noteworthy  of  all  Beet- 
hoven's achievements  in  this  direction.  Words  fail  us 
to  comment  adequately  upon  the  Adagio,  one  of  the 
most  perfectly  beautiful  pieces  of  orchestral  writing 
that  can  ever  be  penned.     The  Finale,  as  a  setting  of  an 

lOI 


Story  of  Symphony 

"Ode  to  Joy,"  is  naturally  in  the  main  joyous,  and  the 
different  sections  of  the  poem  are  suitably  clothed, 
solo  voices  and  chorus  being  introduced.  The  finest 
section,  from  a  musical  point  of  view,  is  the  Andante 
Maestoso  in  G  major  and  minor.  The  concluding- 
portions,  although  very  vigorous  and  jubilant,  are 
excessively  tiring  for  the  voices,  and  are  very  heavily 
scored. 

The  first  performance   that  ever   took  place  was  on 
May   7th,   1824,  in    Vienna — three   years   before  Beet- 
hoven's death.     It  is  pathetic  to  know  that 
First  Per- 

-  he  himself  was  so    absolutely    deaf  at  this 

lormance 

time  that,  although  he  stood  in  the  midst  of 

the  orchestra  beside  the  conductor  for  the  performance, 
he  continued  to  beat  time  after  the  whole  work  was 
finished  :  one  of  the  principal  singers  had  to  turn  him 
round  to  the  audience — who  were  applauding  him  with 
enthusiasm — before  he  realized  what  was  happening. 
The  original  dedication  of  the  Symphony  was  to  the 
Philharmonic  Society  of  London,  who  commissioned 
the  work,  paying  the  composer  ;^50  for  it :  it  was  not, 
however,  performed  in  London  until  March  21st,  1825, 
when  Sir  George  Smart  directed  the  proceedings. 

The  First  Movement  begins  with  a  soft  muffled 
passage  for  the  strings  on  the  dominant  chord,  with 
short  interjectural  phrases  based  on  the  opening  subject 

102 


First  Movement  Themes 

for  the  violins.  Without  any  very  long  preliminary, 
the  chief  idea  of  the  movement  is  soon  announced  by 
the  full  orchestra.  It  will  be  seen  that  it  is  largely 
made  up  of  the  arpeggio  of  the  common  chord  of  the 
keynote :  indeed,  a  feature  of  this  Symphony  is  the 
extent  to  which  the  ideas  are  based  on  chord  or  scale 
passages — 

Allegro  ma  non  troppo. 


After  a  repetition  of  the  opening  introductory  idea 
upon  the  chord  of  the  tonic,  and  of  the  above  phrase 
in  B  flat,  there  is  a  return  to  D  minor.  The  next  point 
to  notice  is  a  tiny  melody  of  great  charm  in  the  wind— 


p  do  Ice 


which  leads  directly  to  the  second  subject  of  the  move- 
ment— 


Fl.CUr.&      =\ 

iBassn.  'l 


^^       i. 


^r^^^^^^"^ 


Stgs.aU  in  octaves 


ID' 


Story  of  Symphony 

This,  it  should  be  noticed,  is  also  in  B  flat — a  slight 
departure  from  regular  form,  in  which  the  second 
subject  would  have  been  in  the  key  of  F. 
There  Is  some  working  and  development  of 
this  motifs  and  then  comes  a  great  outburst 
for  the  full  band,  succeeded  by  a  sweetly  simple,  soft 
phrase  on  the  clarinets — 


Its 

Themes 


01  »r.^ 


Fu)l  Orch. 


Notice  now  the  repetition  of  this  idea,  with  a  most 
beautiful  modulation  into  five  sharps — a  fine  example 
of  the  early  romantic  in  music. 

There  soon  follows,  while  the  characteristic  rhythm 
is  maintained,  a  little  descending  melodic  passage — 
first  in  the  minor  and  then  in  the  major — which  anon 
becomes  of  great  importance — 


VI. 1. 


VI.  u. 


VI. I. 


¥V 


VI. II. 


^^j^4_I^^!L^^J^J■^ 


Other  subsidiary  ideas  are  presented  before  the  whole 
of  the  exposition  section  is  completed,  this  part  con- 
cluding with  a  vigorous  and  rhythmic  utterance  of  the 

104 


New  Melodies 


arpeg-gio  of  B  flat  major.  It  can  be  understood  that, 
with  all  this  wealth  and  profusion  of  material,  the  usual 
repeat  is  omitted. 

We  now  reach  the  middle  section,  in  which  these 
themes  are  developed  and  transformed.  First  of  all 
comes  a  repetition  of  the  opening  muffled  idea,  working 
up  to  a  statement  of  the  first  subject  in  G  minor.  In 
this  key  we  soon  have  a  beautiful  and  plaintive  little 
melody,  henceforth  of  much  importance — 


3fesj>ress. 

This,  it  will  be  seen,  is  derived  from  the  thrrd  bar  of  the 
chief  subject,  and  it  now  figures  largely  in  the  music  : 
indeed,  for  a  long  time  the  whole  development  seems  to 
be  based  entirely  upon  it.  The  second  subject  is  also 
used  imitatively. 

After  a  climax  a  return  is  made  to  the  Idea  of  the 
introductory  bars,  and  all  proceeds  as  before  until  we 
reach  a  fine  coda.  This  is  of  great  length  and  im- 
portance, and  introduces  a  new  feature  in  the  shape  of 
a  poignantly  expressive  chromatic  passage  for  strings 
and  bassoons — 


iq: 


Story  of  Symphony 

This  is  played  tremolando  by  the  'cellos  and  upper 
strings,  and  smoothly  by  the  double-basses,  and  is 
many  times  repeated.  The  sorrowing-  effect  of  this  is 
heightened  by  a  new  little  phrase  for  the  oboe — 


in  which  it  will  be  seen  that  the  characteristic  rhythm  of 
the  movement  is  still  present.  With  a  stern  and  vigor- 
ous restatement  of  the  main  theme  the  allegro  comes 
to  a  noble  end. 

The  next   movement,    Molto   vivace   (D   minor,    3-4 
time),  has  all  the  characteristics  of  a  scherzo  and  trio  ; 

there     is    a    little    prelude    of     descending 

Second  ^  •,-,,,  /, 

octaves,   m    which    the    drums    (here   tuned 

Movement    . 

m    octaves,    an    unusual    procedure   at   this 

date)  have  one  bar  solo. 

The  second  violin  then  announces  the  motif  of  the 

scherzo,  originally  planned  by   Beethoven  as   a  fugue 

subject: — 

Molto  Tiv&ce. 


^-f-^^-i>-i 


-&: 


in       P      r       >   ^ 


£ 


The  instruments   drop  in  one  after  another,  and  this 
idea  is  for  some  time  insisted  upon.     We  are  then  led 

106 


Rhythmic  Varieties 

to  the  key  of  C,  where  a  bright  and  graceful  theme 
is  given  out  by  the  wind,  accompanied  by  all  the  strings 
in  unison  with  the  same  persistent  descending  octave 
figure: — 


Wind . 


After  some  extension  of  this  a  repeat  of  this  part  is 
made,  and  then  through  a  series  of  modulations  we 
are  led  to  the  key  of  E  minor,  where  the  rhythm, 
which  has  hitherto  been  the  ordinary  one  of  four  bars, 
now  becomes  that  of  three  bars.  All  this  is,  in  con- 
trast to  what  has  gone  before,  delicate  and  quiet,  but 
even  now  the  drum  sometimes  bursts  in  boisterously 
with  its  persistent  dropping  octave.  It  is  as  if  the 
orchestra  said,  "Now  let  us  be  playful  and  gentle  for 
a  while."  At  first  the  drum  will  not  have  it  so,  but 
after  a  time  it  is  quieted  down,  and  the  scoring  is 
charmingly  delicate  and  piquant.  Soon  we  return  to 
the  normal  four-bar  rhythm;  but  suddenly  there  is  a 
great  outburst,  and  the  main  idea  comes  back  heavily 
scored  and  quite  pompously.  Then  we  hear  (this  time 
in  D  major)  the  second  theme  above  quoted;  the  ex- 
citement dies  down  to  a  pianissimo^  the  rhythm  being 
throughout  maintained.     This  portion  is  now  repeated. 

107 


Story  of  Symphony 

We  next  come  to  the  alternative  section,  in  which 
there  is  a  changfe  of  both  time  and  key;  we  are  in 
D  major,  and  in  two  minims  in  a  bar  (presto).  Here 
is  the  melody: — 


Ob.&CUr 


the  accompaniment  to  which  is  a  tripping  and  staccato 
scale  passage  in  the  bassoons. 

We  must  notice  some  charming  scoring,  especially 
the  delicate  way  in  which,  when  the  horn  takes  charge 
of  our  last-quoted  melody,  the  strings  accompany  it. 
These  various  accompaniments  are  in  double  counter- 
point, but  the  cleverness  of  its  use  by  no  means 
obscures  its  beauty. 

After  this  very  delightful  interlude,  the  opening  sec- 
tion (Molto  vivace)  is  repeated  in  its  entirety,  and  a 
coda  (containing  a  hint  of  the  presto)  is  added. 

The  slow  movements  of  Beethoven's  Symphonies 
are  unsurpassable,  and  that  of  the  "Choral"  is  no 
exception  to  this  rule:  for  sheer  beauty  of 
idea  there  is  little  in  the  realm  of  music 
that  can  approach  this  masterpiece  of  beautiful  melody. 
Its  ideas  are  so  rich  in  their  variety,  so  delicate  in 
their   ornamentation,   and   withal   so   profoundly  sym- 

io8 


Curious   Link 


pathetic,  that  he  must  be  a  hardened  listener  indeed 
who  can  hearken  to  this  movement  without  some 
perception  of  a  vision  of  the  heavens  opening-,  and  of 
a  distant  gaze  into  some  world  beyond  this.  Here 
we  have  Beethoven  as  an  exponent  of  the  sublime. 
The  main  theme  is  allotted  thus  to  the  violins; — 


Adagio 


A  feature  not  to  be  overlooked  is  the  ri^r?iello-\ike 
echo  of  the  ends  of  the  phrases  by  wood-wind  instru- 
ments. We  now  come  to  the  second  idea  of  the 
movement,  an  entire  contrast — in  3-4  time  in  the  key 
of  D:— 


Aidante  inoderato. 


vi.n 


On   these   two   themes   the   movement  (really  a  set  ot 
variations)  is  built. 

We  now  arrive  at  the  most  interesting,  because  most 
unusual,     feature     of    the     Symphony — the 
curious  bridge-passage  leading  us  from  the 
Instrumental  to  the  Choral  Section.     It  was 
this  connecting  link   which  gave   Beethoven  so  much 

109 


Connect- 
ing Link  " 


Story  of  Symphony 

trouble,  and  was  the  subject  of  so  many  experiments. 
Here  is  his  final  solution  of  the  problem.  First  of  all 
the  orchestra,  commencing  with  a  violent  discord, 
plays  a  preliminary  phrase,  and  then  the  'cellos  and 
basses  give  utterance  to  a  recitative-like  passage  in 
unison.  The  orchestra  again  intrudes,  and  the  basses 
protest  once  more.  Then  the  composer  is  reminiscent: 
in  turn  there  occur  quotations  from  the  first  movement, 
the  second  (scherzo),  and  the  adagio  ;  between  each  of 
these  suggestions  of  what  has  gone  before  there  is  a 
fresh  phase  of  orchestral  recitative.  Each  idea  is, 
as  it  were,  discarded;  the  orchestra  says,  *' I  do  not 
like  this  suggestion."  Then  appear  four  bars  which 
hint  at  the  real  theme  of  the  finale  :  immediately  the 
music  turns  into  the  major  key  of  D,  and  the  orchestral 
recitative  says  as  plainly  as  possible:  "  I  like  this  very 
much;  it  will  do  very  well."  There  is  a  quite  satis- 
factory cadence,  and  we  are  launched  at  once  upon 
the  straightforward  diatonic  melody  which  is  the  basis 
of  the  final  section: — 
Allepro  aseal. 


I  ID 


Schiller's  '^Ode  to  Joy" 

The  extreme  simplicity,  coupled  with  the  majestic 
dignity  of  this  theme,  cannot  escape  notice.  First 
of  all  it  is  announced  by  'cellos  and  basses  only. 
Various  instruments  gradually  enter  with  the  theme, 
the  other  parts  continuing  meanwhile  with  the  most 
beautiful  counterpoints,  which  glorify  and  enrich  the 
tuneful  melody.  The  music  increases  in  complexity 
and  in  power,  and  rises  to  a  fine  instrumental 
climax — all  this  being  preliminary  to  any  vocal 
portion. 

At  length,  however,  the  orchestra  ceases  to  develop 
this  melody,  and  returns  to  its  opening  "  discontented" 
passage,  whereupon  the  baritone  soloist  exclaims:  "O 
friends,  not  these  sounds,  but  let  us  sing  something 
more  joyous  and  more  full  of  gladness;"  upon  which 
the  chorus  immediately  exclaims,  "  Freude,"  and  the 
soloist  enunciates,  to  the  words  of  Schiller's  ode,  the 
melody  we  have  already  quoted,  which  the  chorus  then 
carries  on.  Variations  upon  the  same  theme  follow, 
all  in  the  key  of  D  major.  Here  are  verses  of  this 
section: — 

"  Sing  then  of  the  heav'n-descended 
Daughter  of  the  starry  realm : 
Joy,  by  love  and  hope  attended, 
Joy,  whose  raptures  overwhelm  ! 


Ill 


Story  of  Symphony 

"  Wine  she  gave  to  us,  and  kisses, 
Friends  to  gladden  our  abode  ; 
E'en  the  worm  can  feel  life's  blisses, 
And  the  seraph  dwells  with  God." 

After  the  climax  on  the  word  "God"  there   comes 

a  sudden  dramatic  pause,  and  another  variation — this 

time  in  the  key  of  B  flat — follows.     This  is  known  as 

the  "  March  of  the  Sun,  Moon,  and  Planets," 

Turkish        ^^^  ^^^  ^^jj^^  .,  Turkish  Music,"  on  account 

of  its  employment  of  the  big  drum,  cymbals, 
and  triangle.  The  use  of  a  different  tonality  and  6-8 
time  gives  quite  a  fresh  colouring  to  this  portion  of 
the  work,  which  is  in  the  main  orchestral.  The  scoring 
should  be  noted:  apart  from  the  use  of  the  percussion 
instruments  just  mentioned,  we  should  observe  the 
introduction  of  the  double-bassoon,  and  also  the  great 
use  made  of  the  wind  and  brass  instruments,  the 
strings  being  practically  silent  until  the  introduction 
of  the  chorus.     The  tenor  soloist  sings  this  section  to 

the  words — 

"  Glad  as  suns,  thro'  ether  wending. 

Their  flaming  course  with  might  pursue, 
Speed  ye,  brothers,  glad  and  true, 
Conquest  in  your  train  attending." 

After  a  short  chorus   on  the  same  idea   there   is    a 
lengthy    and    important   orchestral   section    upon   this 

I  12 


,/ 

> 


{Photo  iy  Draycott. 


DVORAK. 


'^  Ail-Embracing  "  Theme 

theme,  which  is  a  varied  version  of  the  first  bars  of 
the  melody  of  the  Finale.  The  change  is  made  to  the 
key  of  D,  when  the  music  dies  down,  and  a  feeling- 
of  expectancy  is  aroused  by  some  soft  notes  for  the 
horns,  with  sug-gestive  phrases  for  oboes  and  bassoons. 
The  chorus  suddenly  then  bursts  in  loudly  and  joyously 
to  the  same  rhythm.  We  now  come  to  the  most  im- 
pressive and  the  most  mystic  portion  of  the  whole  Finale 
upon  these  words  — 

"  O  ye  millions,  I  embrace  ye  ! 
Here's  a  joyful  kiss  for  all  ! 
To  the  power  that  here  doth  place  ye, 
Brothers,  let  us  prostrate  fall. 

O  ye  millions,  kneel  before  Him  ! 

Tremble,  earth,  before  thy  Lord  ! 

Mercy  holds  His  flashing  sword — 
As  our  Father  we  implore  Him." 

The  theme  stands  as  follows: — 


As  befits  the  dignity  of  these  words  the  m.usic  here  takes 
a  majestic  tone,  the  solemn  notes  of  the  trombones 
emphasizing  and  strengthening  the  voice  part.     For  the 

113  8 


Story  of  Symphony 

second  stanza  a  change  is  made  to  the  key  of  G  minor, 
and  the  dramatic  intensity  is  increased  by  the  alternation 
of  loud  and  soft  phrases,  a  great  height  of  devotional 
utterance  being  reached  in  the  beautiful  but  trying 
setting  of  the  last  line. 

We  now  return  to  the  bright  key  of  D  major,  when  the 
original  melody  is  once  more  used  in  6-4  time,  a  counter- 
subject  being  employed  which  is  identical  with  our  last- 
quoted  phrase;  the  words  used  are  those  of  the  opening 
section.  We  are  now  nearing  the  climax  of  the  whole 
work.  This  portion  is  heavily  scored,  and  written  in  a 
trying  manner  for  the  voices,  constant  use  being  made 
of  the  high  notes.  Soon  the  time  quickens,  and  the  voices 
have  a  new  melody,  accompanied  by  light,  soft  quavers 
in  the  strings.  Here  another  climax  is  worked  up,  at 
the  end  of  which  we  have  still  further  diversion  in  the 
form  of  the  entry  of  four  solo  voices,  which  now  execute 
an  elaborate  cadenza.  To  this  succeeds  the  final 
Prestissimo,  when  the  whole  weight  of  the  orchestra  is 
employed,  and  the  last  cadences  are  elaborately  accom- 
panied by  rushing  masses  of  notes.  Even  at  the  very 
close  Beethoven  shows  his  preference  for  the  orchestra, 
which  he  allows  to  finish  alone  with  what  has  been 
humorously  described  as  "  a  series  of  rapid  bangs,  127 
in  number,  upon  the  big  drum  and  cymbals."  How- 
ever   we    may   view    the    interpolation    of    the    vocal 

114 


A  Mighty  Work 


element  in  this  last  section  of  the  Symphony,  no  one 
will  deny  that  here  is  a  masterpiece  unequalled  in  the 
tremendous  vastness  of  its  conception,  and  unapproach- 
able for  its  originality,  power,  and  lavishly  scattered 
beauties. 


"5 


CHAPTER   VIII. 
romantics:  weber,  spohr,  and  schubert. 

The  Romance  School — Weber — Spohr — Schubert — The  "  Unfinished" 
Symphony — The  "glorious  C  major." 

The  great  group  of  composers  known  as  the  "Romantic" 

composers   turned   their   attention  to    the    question   of 

deepening   the   means  of  expression  :    the 

gradual  growth  of  musical  works  from  an 
School  ,       .         ^     .  ,.        , 

architectural  pomt  of  view  ceases  after  the 

time  of  Beethoven.  His  last  magnificent  symphony 
is  the  outcome  of  years  of  laborious  effort  in  expand- 
ing and  perfecting  the  form  of  this  class  of  work. 
Well  may  those  who  succeeded  him  have  felt  the 
impossibility  of  further  progress  in  this  direction; 
wisely,  they  sought  other  methods  of  conveying  their 
messages — by  means  of  more  complex  harmony,  more 
varied  and  powerful  orchestration,  and  by  the  adoption 
(to  a  large  extent)  of  a  programme  basis  for  much  of 
their  music  ;    the   symphonies   which  these  composers 

ii6 


Weber 

penned  speak  in  a  different  lang-uagfe  to  that  which 
Beethoven  uttered. 

The  shape  in  which  he  cast  his  works  remained 
sufficient  for  their  hands:  surpass  it  they  could  not; 
to  equal  it  was,  g^enerally,  beyond  their  power.  But 
the  poetic  charm  of  their  music,  the  wealth  of  lovely 
melody  which  they  display,  and  the  greater  richness 
possible  owing  to  the  increase  in  number  and  develop- 
ment in  perfection  of  the  orchestral  instruments,  made 
their  work  very  acceptable  to  the  audiences  of  their 
day.  At  the  present  time  we  hear  little  or  nothing  of 
the  symphonies  of  Weber  and  Spohr,  but  Schubert's 
final  works  are  constantly  played  and  are  likely  to  be 
for  many  years  to  come. 

Weber's  name  always  leaps  to  the   mind  when  the 

Romance    composers    are    mentioned,    because    of   his 

enormous  influence  over  all  German  music 

Wcbcr 
of   the    nineteenth    century.      He    w^as    the  ' 

■'  .  1786-1826 

pioneer  in  the  new  path  of  national  ex- 
pression, his  music  breathes  a  new  atmosphere,  and 
his  genius  has  remained  unquestioned.  But  so  far  as 
symphony  is  concerned  his  work  is  very  unimportant ; 
his  life  work  was  opera,  and  by  means  of  his  operas 
he  exerted  untold  influence  over  many  other  forms  of 
musical  art,  such  as  the  concert  overture  and  the  song. 
He  was  weak,   however,   in   the  direction    of   musical 

117 


Story  of  Symphony 

form,  and  his  two  symphonies,  written  at  the  age  of 
twenty,  are  immature  works,  which  are  practically 
shelved  now  in  favour  of  more  interesting  music  from 
his  pen  in  other  directions.  Although  this  is  the  case, 
his  commanding  personality  must  be  acknowledged  as 
having  been  not  without  effect  upon  other  symphonic 
composers. 

More  importance  attaches  to  Spohr,  who  made  in- 
teresting experiments  with  the  symphony.     His  earliest 

efforts,  though  not  without  value,  call  for 

Spohr,  .   ,  1-,       •        n       1 

no  special  comment.     But  m  18^2  he  com- 

1784-1859  .  . 

menced  his  symphony  entitled  "The  Power 

of  Sound,"  by  which  he  is  perhaps  best  known  at  the 
present  time.  He  also  wrote  an  "  Historic  "  symphony, 
a  double  symphony  (for  two  orchestras),  and  another 
work  entitled  "The  Seasons,"  which  brought  the  roll 
of  his  nine  works  in  the  shape  of  symphony  to  an  end. 
Some  account  of  these  will  be  found  in  Chapter  XVH. 
For  the  moment  it  will  suffice  to  state  that  Spohr  had 
very  considerable  influence  upon  the  development  of 
the  symphony  as  a  means  of  depicting  a  definite  pro- 
gramme of  events:  Beethoven,  in  his  "Pastoral" 
symphony,  had,  as  we  have  seen,  done  something  in 
this  direction,  but  Spohr's  attempts  were  much  more 
definite,  and  were  destined  to  have  bearing  upon  much 
music  that  has  been   written    since   his  day.      Before 

118 


Schubert's  "  Unfinished  " 

leaving  Spohr,  it  may  be  of  interest  to  note  that  he 

was  the  first  in  this  country  to  conduct  with  a  baton. 

This   he   did    at   a    Philharmonic    Society's    concert   in 

1820,  the  previous   custom   having  been  to  direct  the 

orchestra  from  the  clavier  or  pianoforte. 

Greater  than  either  of  these  men,  because  more  rich 

in  the  possession  of  musical  thought  of  undying  beauty, 

comes  Schubert,  the  great  lyric  genius.     He 

commenced  writing  symphonies  at  the  age  * 

.  1797-1828 

of  sixteen,  and  by  the  time  he  was  one-and- 

twenty   had    written    six,   the    most    widely  known    of 

which  is  that  entitled  "The  Tragic."     This  fine  work 

contains    some    notable   pages,   especially   in    its    slow 

movement,  which  approaches  in  majestic  dignity  some 

of    the    finest     movements    of    Beethoven.       But    we 

remember    Schubert   mostly  for  his   eighth   and   ninth 

symphonies. 

The  former   of  these,   in   B  minor,   was   written  in 

1822   and  is  known  as   "The   Unfinished,"  consisting 

as  it  does  of  two  movements  only.      IVhy 

..  4.    r    •   t.    J  u    11  u  "Unfinished" 

it   was    not    finished    we    shall    perhaps 

Symphony 
never  know;  fragments  of  a  third  move- 
ment exist,  and  so  it  may  be  assumed  that  he  had 
some  intention  of  completing  it;  but  the  six  remaining 
years  of  his  life  were  filled  with  other  work,  and  perhaps 
it  is  as  well  that  no  attempt  was  made  by  him  to  match 

119 


Story  of  Symphony 

those  two  unequalled  manifestations  of  his  g-enius,  for 
their  beauty  seems  unapproachable,  their  charm  im- 
possible to  match,  and,  to  speak  from  a  practical  point 
of  view,  how  useful  it  is  in  these  days  of  lengthy 
symphonies,  when  one  that  takes  an  hour  is  not 
considered  over  long,  to  include  in  one's  programme 
this  short  and  beautiful  work  of  some  eighteen  minutes 
all  told. 

Schubert  uses  here  the  ordinary  orchestra  of  Beet- 
hoven with  the  addition  of  three  trombones ;  but 
although  his  orchestra  does  not  differ  very  materially 
from  that  of  his  great  predecessor,  his  method  of 
employing  it  is  on  a  much  more  varied  scale.  He 
has  in  this  work  "discovered"  certain  instrumental 
combinations  with  which  we  are  sufficiently  familiar 
in  the  present,  but  which  were  absolutely  new  in  their 
day.  We  find  passages  displaying  orchestral  colour 
of  a  kind  fresh  to  the  world:  soft  chords  for  the  trom- 
bones, alternating  passages  for  wood-wind  and  strings, 
and  lovely  melodic  phrases  in  which  the  genius  of  each 
instrument  is  displayed  to  its  fullest  advantage.  On 
paper  it  is  impossible  to  suggest  what  exquisite  love- 
liness is  conveyed  to  the  ear  by  such  fragments  as 
these: — 


1 20 


Some  of  its  Themes 


Opening  of  Slow  movement. 
Andante  con  nmto. 

iliis.&  Bassns. 


(a)< 


Doable  Boss       „ 
pizz.  a- 


Extract  from  Slow  movement. 


Clar. 


^ 


^ 


^ 


^ 


?•    1.. 


^ 


^ 


r*)^ 


ppp 

BaMins' 


^ 


ffl^ 


.^ir^ 


VI.  u. 


ppp 


i 


fe 


p: 


B.Trom. 


Fits 


Stgs.pizz. 


Somewhat    less    frequently   performed,    perhaps    on 
account  of  its  great  length,  but  almost  equally  fine, 

121 


Story  of  Symphony 

is  Schubert's  "  Glorious  C  major,"  as  his  last  sym- 
phony is  often  affectionately  called.  It  was  com- 
menced in  March,  1828,  only  a  few  months 
before  his  death,  and  lay  for  years  un- 
regarded    amongst    his     papers    until    the 


"  Glorious 
C  major  " 


discerning  eyes  of  Robert  Schumann  first  fell  upon  it. 
His  enthusiasm  for  the  work  was  unbounded,  and  this 
enthusiasm  he  conveyed  to  Mendelssohn,  with  the 
result  that,  in  1839,  the  symphony  was  first  performed 
under  the  latter  at  Leipsic.  Mendelssohn,  still  burning 
with  zeal,  brought  the  work  with  him  to  London,  but, 
shame  to  say,  the  members  of  the  orchestra  treated 
it  with  such  scorn  and  contempt  that  he  indignantly 
refused  to  perform  it. 

This  neglect  and  ignorance  of  we  English  has  long 
since  been  made  good.  To-day  Schubert's  original 
and  beautiful  swan-song  is  amongst  our  most  treasured 
possessions,  and  when  its  first  romantic  theme 

Andante 


Ur.9 


pp 


is  heard  on  the  horns,  we  settle  down  for  our  hour  of 
solid  enjoyment,   and   <'our  joy  no  man  taketh  from 

122 


Schubert's  "C  Major" 

us."  It  is  sad  to  think  that  the  composer  himself 
never  experienced  this  joy,  and  that  his  own  ears 
never  heard,  save  in  imagination,  the  lovely  wealth  of 
orchestral  device  and  colour  which  his  two  greatest 
symphonies  display  for  us.  All  the  more  must  we 
honour  the  classic  genius  which  was  his,  and  learn 
the  lesson  of  patient  labour  which  his  unrewarded  life 
can  teach  us. 


123 


CHAPTER   IX. 

romantics:   Mendelssohn,  Schumann,  raff, 
rubinstein. 

Mendelssohn— "Reformation"  Symphony— "Italian"  Symphony— 
"Scotch"  Symphony— "  Hymn  of  Praise" — Schumann — A  late 
start — "Spring"  Symphony — A  new  departure — C  major  Sym- 
phony— "  Rhenish"  Symphony — Raff — Rubinstein — Gade. 

Mendelssohn's  position  as  a  composer  of  symphony 

is  similar  to  his  position  in  every  form  of  musical  art : 

in  all  things  he  is  a  polished  and  exquisite 

worker,  the  possessor  of  many  beautiful 
sohn,  ,         ,         ,  , 

thouo'hts,  but  one  who  moves  upon  con- 
I 809-1 847  f       '  ^ 

ventional  lines,  adding  little  or  nothing-  to 
the  real  development  of  music,  but  content  to  work  on 
methods  laid  down  by  those  who  preceded  him.  Of 
his  many  boyish  essays  in  the  direction  of  symphony 
nothing  need  be  said :  by  the  age  of  fifteen  he  had 
written  his  thirteenth  symphony,  the  earliest  that  now 
survives.  This  stands  in  C  minor,  and  is  dedicated  to 
the  Philharmonic  Society  of  London. 

124 


Mendelssohn 


Six  years  later,  in  1830,  appeared  the  "  Reformation" 
Symphony,  a  work  with  some  measure  of  programme 
basis,  illustrating  the  opposition  between 
the  older  and  newer  forms  of  religious  faith. 
The  *'  Dresden  Amen,"  so  much  used  in 
Wagner's  Parsifal,  and  the  Luther  Chorale,  "  Ein' 
feste  Burg,"  make  occasional  appearance,  and  convey 
the  suggestion  that  the  composer  looked  upon  the  first 


Reforma- 
tion" 


as  representative  of  the  Catholic,  the  second 


I'Ml^ 


F^ 


p  .  f> 


of  the  Protestant,  faith  :    in  the  Symphony   the   latter 

gradually  develops  from  a  soft,  tentative  utterance  to 

one  of  convincing  authority  and  majesty. 

Better  known    to  concert   audiences   is  the  brilliant 

and  sparkling  "  Italian  "  Symphony,  the  result  of  a  visit 

made  by   Mendelssohn   to   that   country  in    ,,  _    .,      ,, 

'Italian  ' 

1830-31.     It   is    perhaps   the    most   consist- 
ently bright  and  joyous  of  all  great  symphonies,  even  if 
a  touch  of  comparative  sadness  breathes  through  the 
Pilgrim's    March   which   forms   the    slow    movement. 

125 


Story  of  Symphony 

The  very  vivacious  Salterello  with  which  the  work  con- 
cludes is  perhaps  its  most  characteristic  feature. 

The    longest    and    the    most    effectively    scored    ot 
Mendelssohn's  works  is  the  ''Scotch"  Symphony,  the 

inception   of  which   dates   from    the    same 

"Scotch"  /,  ,      ..T     ,•       ,,        J      L-  u 

period  as  the  "Italian,  and  which  repro- 
duces in  glowing  colours  the  impressions  made  on  the 
composer  by  a  visit  to  Scotland.  Perhaps  less  happy, 
as  a  whole,  than  his  supremely  beautiful  Hebrides 
overture,  it  still  depicts  for  us  in  picturesque  fashion 
the  sombre  grandeur  of  the  Scotch  scenery :  its  most 
notable  features  are  the  opening  introduction,  the  very 
individual  Scherzo,  the  theme  of  which  includes  a 
representation  of  the  "Scotch  Snap"  (and  which  is 
really  a  version  of  "  Charlie  is  my  darling"). 


^l\j\\-~jl-r^^ 


and  the  final  coda. 

Little  need  be  said  of  the  three  symphonic  movements 

which  form  the  prelude  to  the  "  Lobgesang,"  the  well- 

^_  ,      known  and  much  loved  short  oratorio  which 

Hymn  of 

p    ,  Mendelssohn  seems  to  have  planned  on  the 

lines  of  Beethoven's  "Choral"   Symphony. 

Although  sometimes  reckoned  as  one  of  the  composer's 

126 


Schumann 

symphonies,  its  importance  is  more  on  the  vocal  than  the 
instrumental  side,  and  it  has  had  no  real  bearing  upon 
the  development  of  the  symphony. 

Of  far  greater  interest  to  musicians  are  the  sym- 
phonies of  Robert   Schumann.     It   is   true  that  these 

have  their  failings,  the  most  prominent  of 

,.,..,  ,     .  ,  Scnutticinn, 

which  IS  the  somewhat  cumbrous  manner 

1810-1856 
in  which  the  orchestra  is  employed.  Schu- 
mann had  not  that  genius  for  orchestration  which  is 
now  the  possession  of  many  third  or  fourth-rate  com- 
posers. But  his  musical  ideas  are  so  noble  and  so 
vital,  his  conceptions  are  so  poetic,  and  his  develop- 
ments in  symphonic  form  are  so  legitimate,  that  he  has 
been  well  described  as  the  most  important  symphonic 
writer  since  Beethoven. 

Schumann  was  nearly  thirty  before  he  started  upon 
the  task  of  orchestral  writing.  But  long  ere  that  he 
had  gone  far  in  perfecting  himself  in  expressing  his 
emotions  in  musical  language,  the  pianoforte  having 
been  very  largely  his  medium.  The  transference 
of  such  emotions  to  the  larger  horizon  of  the  or- 
chestra was  wonderfully  well  accomplished,  even  in 
his  delightfully  fresh  first  symphony,  op.  38,  which 
he  at  one  time  thought  of  calling  the  "Spring" 
Symphony. 

In  this  work  Schumann  gives  an  indication  of  the 

127 


Story  of  Symphony 

method  of  procedure   he  proposes  to  adopt,  a  logical 

and  consistent  development  of  a  whole  movement  from 

a  tiny  phrase.      This   is   much   more   allied 

to   the  manner  of  Beethoven  than  are  the 
bymphony 

works   of  Schubert  and   Mendelssohn,   and 

the  skill  with  which  he  builds  almost  the  whole  of  the 

first  movement  from  a  single  phrase 


Allegro  molto  vivace 


New 

Departure 


reminds  one  of  the  similar  methods  of  Beethoven  in  the 
C  minor. 

Yet  another  and  more  extended  form  of  device  is 
apparent  in  the  Symphony  in  D  minor,  op.  120,  which 
appeared  soon  after  the  first.  Like  the 
"Scotch"  Symphony  of  Mendelssohn,  it  is 
meant  to  be  played  through  without  a  break 
between  the  movements  ;  but  the  four  movements  are 
no  longer  independent  and  individual  sections,  they  are 
united  into  a  common  whole  by  the  fact  that  motives 
and  themes  are  transferred  from  one  to  another, 
thus  linking  together  both  in  musical  material  and 
in  emotional  purport  those  (formerly  self-contained) 
four   movements    of    which    the    symphony    has    been 

128 


The  "Rhenish" 

shown  to  consist.  The  beautiful  violin  solo  intro- 
duced into  the  Romanza  of  the  work  is  another 
notable  feature. 

•    The    Symphony    in    C,    op.    6i,    is   full   of  rhythmic 

vitality,  contains  a  very  striking  introduction,  a  beautiful 

slow  movement,  and,  in  common  with    his 

first  symphony,  gives  us  a  new  device  which 
Symphony  ^     t^        ^ '  t> 

Schumann  introduces  also  mto  some  of  his 

chamber  music — that  of  not  merely  repeating  the  trio 

(or  middle  section)  of  the  scherzo,  but  of  writing  two 

separate   and   well-contrasted  trios,   which    throw   the 

three-fold  performance    of  the    scherzo    itself  into   far 

greater  relief. 

Schumann's    last    symphony,    generally    called    the 

"  Rhenish,"  was  written    in    1850,    and    stands  in  the 

key  of  E  flat  (op.  97).     Its  name  is  due  to   ^,^,      ,  ,  „ 
V   r     ^//  "Rhenish" 

the  fact  that  the  composer  gives  us,  m  this 
work,  a  series  of  pictures  of  impressions  made  upon 
him  by  Rhine  life.  It  is  in  five  movements,  the 
additional  (fourth)  one  being  an  expression  of  feelings 
produced  in  him  by  witnessing  a  ceremonial  enthrone- 
ment at  Cologne  Cathedral.  Besides  these  four  works, 
there  also  exists  the  sparkling  and  delightful  "Over- 
ture, Scherzo,  and  Finale"  (op.  52),  which  is  quite  of 
symphonic  dimensions. 

On  a  far  lower  level  t'han  Mendelssohn  and  Schumann, 

129  9 


Story  of  Symphony 

but   yet   symphony   composers   of  more   than   a   little 

eminence,   are   Raff  and   Rubinstein,   late    disciples   of 

the  Romantic  School.     RafF,   a  wondrously 

'  prolific    composer,    wrote    ten    symphonies, 

1822-1882 

giving  titles  to  them  all.     For  many  years 

his  "Leonore"  Symphony,  a  programme  work  based 
upon  a  familiar  legend,  was  a  popular  favourite,  and  it 
is,  thanks  to  its  picturesque  orchestration,  still  some- 
times heard.  But  Raff's  music  is  suffering  from  the  lack 
of  dignity,  the  lack  of  care,  and  the  lack  of  proper 
thematic  development  which  it  displays.  His  fame  is 
rapidly  declining,  and  soon  perhaps  his  ever-green 
"Cavatina"  (so  beloved  of  violinists)  will  be  his  only 
remaining  monument. 

Into  a  very  similar  category  falls  Anton  Rubinstein, 
the  Russian  pianist-composer.     His  music  is  that  of  a 

_  follower  of  Mendelssohn.     At  one  time  his 

Rubinstein,     ,,  ^  ,,     ^  ,  ,  ,.      ^ 

"Ocean       Symphony,    perhaps    his   finest 

orchestral  work,  was  very  frequently  before 

the  public.     This  was  originally   in    four    movements, 

but  Rubinstein  eventually  added  two  others,  the  mood 

of  the  whole  being  dominated  by  the  title  chosen  by  the 

composer,  although  the  work    is  not  based  upon   any 

programme.       Of  Rubinstein's    four  other  symphonies 

that  called  the  "Dramatic"  achieved  some  success  in 

its  day. 

130 


Other  Romantics 

Amongst  other  followers  of  the  Romantic  School 
may  be  mentioned  the  Danish  composer,  Gade,  who 
wrote  eight  symphonies,  and  Goetz,  whose 
Symphony  in  F  is  sometimes  heard :  the 
latter  is  a  charming  and  somewhat  neglected 
work,  described  by  its  writer  as  "springing  from  the 
quiet  and  holy  spaces  of  the  heart." 


Gade, 
1817-1890 


131 


CHAPTER   X. 

**  PROGRAMME  "    SYMPHONISTS. 

Programme  symphony— Berlioz — Episode  de  la  vie  d'un  Artiste — 
L'Idee  P'ixe— Harold  en  Italie — Liszt— Other  programme  sym- 
phonists. 

Beethoven  started  a  somewhat  dang-erous  ball  rolling 

when  he  gave  to  the  world  his  '*  Pastoral "  Symphony. 

True   it   is   that  he   was   careful   to   explain   it  as   an 

"expression  of  the  emotions  rather  than 

painting-,"     but     many     of     those     who 
Symphony 

followed   him    have  done  away  with  all 

such  reticence.  The  symphonies  of  Berlioz  and  Liszt 
are  frankly  designed  with  the  idea  of  conveying-  a 
definite  story  and  not  a  mere  impression;  and  without 
some  knowledge  of  the  story  the  music  is  apt  to  be 
incomprehensible.  The  arguments  pro  and  co?t  in  the 
matter  are  too  lengthy  for  insertion  here,^  but  it  may 
be  briefly  said  that  the  symphony,  being  the  expres- 
sion of  absolute  music  in  its  highest  form,  finds  itself 

'  They   may   be   seen   set  out  at   some   length   in   Chapter   V.    of 
Professor  Niecks'  book,  Programme  Music. 

132 


Berlioz 

degraded  by  being-  linked  with  ideas  which  fetter  its 
freedom,  which  weaken  its  intellectual  basis,  and  which 
leave  nothing  to  the  imagination  of  the  hearer. 

Nevertheless,  the  symphonic  works  of  Berlioz  and 
Liszt  are  full  of  interest,  even  if  they  appear  to- 
day somewhat  experimental  and    tentative. 

r>     ,•        •  •      •         L  r   I  •  Berlioz, 

rJerlioz   is    unconvmcmg   by   reason    or    his 

,    ,.         -r  ,     ,.    .      ,  .  1803-69 

poor    melodic    gift,    and     limited    capacity 

for  legitimate  development  of  his  ideas.  Yet  his  un- 
conventional methods  and  his  mastery  of  instrumental 
effect  have  created  for  him  a  place  of  some  importance 
in  the  later  history  of  musical  composition.  Although 
not  the  earliest  to  shape  musical  work  upon  a  pro- 
gramme basis,  he  is  certainly  among  the  first,  if  not 
absolutely  the  first,  to  treat  the  majestic  form  of 
symphony  in  this  manner. 

Berlioz's  best  known  instrumental  work,  "Sym- 
phonic fantastique — Episode  de  la  Vie  d'un 

Artiste,"    dates   from    1830,   and   attempts        ^ 

la  Vic  d  un 
to  depict  an  elaborate  story.     It  is  in  five  .     , 

^  ■'  Artiste " 

movements,  entitled 

I.   "Reveries — passions." 
II.   "Un  Bal." 

III.  "  Sc^ne  aux  champs." 

IV.  "  Marche  au  Supplice." 

V.   "  Songe  d'une  Nuit  du  Sabbat." 
133 


Story  of  Symphony 


The  idea  running-  throug-h  the  whole  is  that  a  young 
musician  is  haunted  by  a  theme  {idee  fixe),  with  the 
memory  of  which  is  associated  always  the  vision  of  a 
beloved  woman.  Through  the  whirling  mazes  of  the 
ball,  the  calm,  idyllic  peace  of  the  country  evening, 
through  a  ghastly  nightmare  of  his  imaginary  execu- 
tion, and  through  the  fantastic  hallucination  of  a 
witches'  sabbath,  with  its  "howls,  laughter,  cries  of 
pain,  wailings,"  the  same  melody,  in  variously  metamor- 
phosed forms,  is  ever  present  with  him. 

Such  is  the  story  upon  which  the  music  takes  its 
stand.  The  leii-motiv,  as  it  may  be  called,  is  one  of 
little  interest  as  compared  with  many  of  the 
forcible  and  truly  suggestive  themes  which 
Wagner  was  afterwards  to  originate;  but 
in  this  respect  Berlioz  was  something  of  a  pioneer.  As 
will  be  seen,  this  "guiding  theme"  contains  little  of 
melodic  beauty,  rhythmic  interest,  or  harmonic  suggest- 
iveness — it  is  indeed  of  a  strangely  diatonic  and  obvious 
character. 


Allegro  agitato. 


"  L'idde 


The   sequel    to   this  work,    "  L^lio,"    is    not   one    of 
Berlioz's  most  successful  efforts.     Of  greater  interest 

134 


*'  Programme  "  Work 

and    importance    is    the    second    symphony,    "Harold 
in   Italy,"  a   record  of  a  visit  to   Italy,    in 


"  Harold 
en  Italie" 


which  the  title-role  is  indicated  throus:hout 

by    a    viola    solo,    and    which    is,    like    the 

earlier   work,    largely   dominated    by   an    '■'■  idee  fixe,"" 

which  runs  as  follows: — 


Adagio 


The  symphony  is  divided  into  four  scenes — 

I.   "  Harold  in  the  mountains." 
II.    "March    of    pilgrims    singing   the    prayer   of 


evenmg. 


III.   "Serenade." 

III.    "  Orgy  of  brigands." 

The  dramatic  and  programme  nature  of  a  good 
deal  of  the  music  is  very  much  to  the  fore;  the  work 
is  masterly  in  its  orchestration  and  picturesque  in  its 
effects.  Yet,  in  spite  of  many  imaginative  and  finely 
conceived  movements,  the  impression  of  its  being  tire- 
some music  is  often  forced  upon  one.  Much  the  same 
may  be   said  of  the  symphony,    "Romeo  and  Juliet," 

135 


Story  of  Symphony 

into  the  seven  movements  of  which  both  solo  voices 
and  chorus  are  occasionally  introduced.  The  scherzo 
of  this,  "  Queen  Mab,"  is  a  delightful  orchestral  picture, 
and  is  often  played  separately,  and  much  of  the  "  Sc^ne 
d'amour  "  is  of  the  most  passionate  and  beautiful  char- 
acter. But,  as  a  whole,  the  work  fails,  its  style  being 
inconsistent  and  often  incongruous. 

Liszt  is  better  known  for  his  symphonic  poems  than 
for  his  symphonies,  and  his  doings  in  the  former  con- 
nection will  be  dealt  with  in  Chapter  XV. 

'  ,         But  his  two  great    symphonies,   "A  Sym- 
1811-86  *=  \  /  ,        ■' 

phony  to   Dante's  Divina   Comtnedia,^''  and 

*' A  Faust  Symphony,"  written  between  1847  and  1857, 
owe  much  to  Berlioz.  The  programme  nature  of  both 
is  very  apparent,  but  he  extends  the  methods  of 
Berlioe  by  having  many  representative  themes  instead 
of  one  main  one.  Thus,  in  the  Faust  symphony  he 
has  one  set  of  themes  for  Faust,  another  for  Marguerite, 
and  a  third  for  Mephistopheles;  moreover,  these  themes 
undergo  many  changes  and  alterations  according  to 
the  particular  poetical  meaning  which  they  endeavour 
to  convey.  These  changes,  or  "metamorphoses  of 
themes,"  are  amongst  the  most  original  and  fresh 
points  of  Liszt's  work,  and  have  had  enormous  in- 
fluence upon  succeeding  schools  of  musical  composi- 
tion.    Both  the  Liszt  symphonies  employ  a  chorus. 

136 


(( 


Rustic  Wedding" 


The  symphonies  with  ^programme  tendencies  by 
RafF  and  Rubinstein  have  already  been  mentioned. 
Amongst  other  followers  of  this  class  of 
work  may  be  named  the  opera  composer, 
Carl  Goldmark  (1832-1915),  whose  sym- 
phony, "Rustic  Wedding,"  standing  in 
five  movements,  is  much  played ;  Felicien  David's 
symphonic  ode,  '*  Le  Desert,"  a  work  that  made  the 
composer  famous,  belongs  to  the  same  category. 


Other 

Programme 

Symphonists 


137 


CHAPTER   XI. 


BRAHMS. 


A  period  of  exhaustion — Brahms — A  new  birth — Brahms'  orchestration 
— C  minor  Symphony — D  major  Symphony — F  major  Symphony 
— E  minor  Symphony — Brahms'  influence. 

About    midway   through    the    nineteenth   century   the 

growth  of  symphony  appeared  to  suffer  from  a  number 

of  paralyzing  influences.     Composers  were 

turning  from  the  pure  and  noble  form  of 
Exhaustion 

symphony  bequeathed  to  them  by  the  great 

classic  masters,  and  were  experimenting  in  many  direc- 
tions. Many  forsook  the  symphony  altogether  for  the 
less  constrained  symphonic  poem ;  and  those  who  con- 
tinued to  write  symphonies  sought,  as  we  have  seen 
in  the  case  of  Raff,  Berlioz,  and  Liszt,  the  adventitious 
aid  of  the  title  and  the  programme ;  they  gave  definite 
titles  to  their  works,  even  to  the  separate  movements, 
and  sometimes  to  the  very  themes  occurring  in  those 
movements.  Many  thinkers  on  the  subject  imagined 
that  the  symphony,  as  a  form,  was  exhausted,  and 
those  who  still  strove  to  work  on  the  classical  model 

138 


"  The  Last  of  the  Classics " 


could  produce  only  pale  and  banal  imitations  of  the 
glorious  masterpieces  which  they  sought  to  emulate. 

One    master   there   was,   however,   whose   star  rose 
but  slowly,  and  whose  achievements  for  long"  went  only 


half-recognized.      Indeed,   it  is    doubtful    if 


Brahms, 
1833-97 


New  Birth 


we  have  yet  arrived  at  a  full  appreciation 
of  the  work  of  that  noble  North  German, 
Johannes  Brahms,  "the  last  of  the  classics,"  as  he 
has  been  called,  and  who  is  now  widely  recognized 
as  the  legitimate  successor,  in  the  realm  of  absolute 
music,  of  Bach  and  Beethoven. 

It  was  even  many  years  after  his  mastery  of  other 
forms  of  music  had  been  acknowledged  that  the  world 
accepted  Brahms  as  a  great  composer  of 
orchestral  music.  He  was  late  in  devoting 
himself  to  this  branch  of  the  art,  and  it  was  not  until 
1876  that  he  gave  his  first  symphony  to  the  world. 
Its  reception  was  a  very  mixed  one,  both  excessive 
praise  and 
e  x'c  e  s  s  i  V  e 
condemna- 
tion being 
extended 
to  it.  After 
a  lapse  of 
nearly  forty 

139 


Story  of  Symphony 

years  one  can  now  safely  proclaim   it  as   one   of  the 
noblest  works  in  the  region  of  orchestral  music,  and 
with  its  birth  seems  to  have  dawned  a  new  era  in  the 
history  of  symphony.     True  it  is  that  it  has  no  com- 
panions worthy  of  the  name,  save  possibly  the  other 
symphonies  by  the  same  composer,  but  it  gave  a  fresh 
impetus  to  serious  music  just  when  such  an  impetus 
was  sorely  needed,  and  many  earnest  minds  owe  much 
to  the  influence  of  Brahms.     His  mighty  chain  of  great 
works  stands,  like  a  row  of  snow-clad  peaks,  pure  and 
noble  in  distant  whiteness;  we  may  never  rise  to  such 
heights  as  we  see  in   them,  but  they  remain,  a  noble 
and  enduring  monument,  an  example  of  what  can  be 
done,    an   encouragement   to    those   who    believe   that 
the  pure,  the  beautiful,  and  the  great  in  art  may  not 
yet  be  exhausted. 

Brahms'  symphonies  are   only  four  in   number,  and 
they  may  perhaps  be  said  to  lack  that  glowing  richness 

_,    ,       .  of  colour  in  their  orchestration  to  which 

Brahms 

r»    ,     .    ,.       we  have  become  accustomed  with  Berlioz, 
Urchestration  ' 

the  modern  Russians,  Dvofdk,  etc.  There 
are,  not  merely  here  and  there,  very  beautiful  bits  of 
scoring  in  Brahms,  but  it  must  be  remembered  that 
this  composer  always  pays  more  attention  to  the 
thought  itself  rather  than  to  the  picturesque  presenta- 
tion of  it.     Those  who  seek  the  great  beauty  of  these 

140 


Similarities 


symphonies  must  not  look  for  it  in  effect  of  colour, 
tricks  of  orchestration,  and  obvious  devices  ;  it  must 
be  sought  in  the  inherent  and  subtle  qualities  of  the 
music  itself. 

The  first  symphony,  in  C  minor,  op.  68,  often  called 
the  "Tenth"  symphony  by  those  who  claim  it  as  the 
direct  follower  of  Beethoven's   nine,  cling-s 


C  minor 
Symphony 


closely  to  classical  form,  and  is  in  the  usual 

four  movements,  with   a  slow  introduction 

to  the  first  and  last.     The  place  of  the  scherzo  is  taken 

by  a  charming   allegretto.      The  main    subject  of  the 

finale  undoubtedly  brings  to  mind  the  last  movement 

of  Beethoven's  "Choral  Symphony, "^  the  theme 


Allegro  non  troppo 
VI.;. 


recalling   the    earlier  work  both   in    style,   shape,   and 
manner  of  repetition  of  its  phrases. 

^  See  the  theme  quoted  on  p.  no. 
141 


Story  of  Symphony 

The  second  symphony,   in   D  major,    op.   73,   is  by 

far  the  most  "popular,"  it  being  the  one  that  makes 

^       ,  the  fewest  demands  upon  the  hearer.     This 

D  major 

does  not  mean  that  it  lacks  profundity,  but 

the  graceful  elegance  and  suave,  flowing  themes  with 

which  it  abounds   cannot  fail  to   captivate  those  who 

find  the  more  austere   methods  of  the  first  symphony 

too    much    for    them.      Such    melodic    fragments    as 

this   quotation   from   the   second    subject   of   the   first 

movement, 


Allegro  non  troppo 


CeUos.&Violas 


or  the  theme  of  the  fascinating  Allegretto, 


Allegretto  grazioso 

Ob. 


must  carry  conviction  with  them. 

142 


Influence  of  Brahms 

The  Symphony  in  F,  op.  90,  is  bold  and  resourceful, 
and  displays  more  orchestral  device  than  we  sometimes 

find  in  this  master.     Its  four  movements  are 

t  1  T       1       ,  ,   .  ,         F  major 

on   the   regular  plan.      It  should  be  noted 

that  Brahms  does  not  employ  the  scherzo  in  any  of 

his    symphonies ;    indeed,    in    all    his    work    in    cyclic 

forms    he    appears     to    prefer    some    other    kind    of 

third   movement.      In    the   first   three    symphonies    he 

writes   an   Allegretto,    and   in    the   fourth    an   Allegro 

Giocoso. 

The  Symphony  in  E  minor,  op.  98,  has  not  yet 
received  the  full  measure  of  public  welcome  to 
which  the  others  have  long  been  admitted. 
This  fourth  symphony  of  Brahms  is  un- 
doubtedly a  somewhat  hard  nut  to  crack,  although 
study  or  re-hearing  will  materially  assist  the  task. 
It  is  full  of  contrapuntal  device,  and  its  ingenuity 
is  remarkable ;  but  there  is  not  here  the  same 
measure  of  spontaneity  which  marks  the  earlier 
works.  The  slow  movement  is  of  great  beauty, 
but  the  form  of  the  last,  a  set  of  elaborate  varia- 
tions upon  a  "ground  bass,"  militates  against  the 
success  of  the  work,  taken  as  a  whole.  Although 
grand  and  dignified,  this  last  movement  is  apt  to 
leave  one  cold. 

The  influence  of  Brahms  has  been  felt  perhaps  more 

143 


Story  of  Symphony 

widely  in  other  directions  than  in  that  of  symphony. 

But  even  here  the  noble  example  of  one  working 
on  the  hig-hest  plane  has  not  been  without 
effect,  and  the  Italian,  Sgambati,  and  the 
foremost     representatives    of    our    Eng-lish 

school  of  symphony  writers,  such  as  Stanford,  Parry, 

and  Elgar,  owe  not  a  little  to  Johannes  Brahms. 


144 


CHAPTER   XII. 

BRITISH   SYMPHONY  COMPOSERS  FROM  BENNETT  TO  ELGAR. 

British  vocal  music — Church  music — The  late  start  of  English  sym- 
phonists  —  Bennett  —  Bennett's  followers  —  Parry  —  Stanford  — 
Cowen — Elgar — Younger  composers. 

British  composers  have,  during  the  history  of  music, 
often  been  famed  for  their  achievements  in  vocal  forms. 

The    Madrigals  of  the  seventeenth  century 

British  ,  ,  ,,  .... 

are  second  to  none  :  the  oratorio  wntmg  is 

Vocal  n  r.  ,  1       •  t  1  •       n 

„     ,  often  fine,  even  though  it  shows  the  influence 

Music 

of     Handel     and,     later,    of    Mendelssohn. 

Their  school  of  opera  is  not  without  merit.  But  instru- 
mental music,  at  any  rate  for  the  orchestra,  cannot,  up 
to  the  nineteenth  century,  be  said  to  be  very  remark- 
able. Purcell  and  others  wrote  well  for  the  orchestra 
of  their  day,  and  there  is  some  fine  chamber  music  of 
an  early  period.  The  symphony,  however,  was  a  form 
which  developed  at  a  time  when  English  composers 
strove,   for  the  most  part,  for  eminence  in  music   for 

the  Church. 

145  10 


Story  of  Symphony 

The  composition  of  church  music  is  a  task  of  nobility 

and  dignity — at  least  it  should  be  so.     But  it  is,  after 

all,  only  a  side  track  of  music  ;  its  associa- 
Church  .  .  ,  .      . 

__     ,  tion  with    words   prevents  it  from   rankmg- 

Music  f  ** 

amongst    those    high    forms    of  the    art  in 

which  music  relies  for  its  beauty  and  worthiness  wholly 

on  itself.      Its  appeal  is  necessarily  limited  to  those  of 

one    creed,    it   is    but    an    adjunct   to    a   thing    higher 

and    nobler    than    itself,    and    it   does    not   well    bear 

transportation    from    its    own    sphere.      Moreover,    its 

influence   over   other   forms   of  the   art  is    but   slight, 

and   it   is    not    necessarily   influenced    very    materially 

by    such    other    forms.       However    great,    therefore, 

may    be    the    work    of    that    noble    army    of    church 

composers  whose  names  loom  so  large  in  the  British 

mind,  their  prestige   is   but  small  outside  the  borders 

of    our    own    land,    and    their    achievements   are   but 

of  little  use  for  our  concert   rooms,  or  even  for  our 

homes. 

The  minds  of  English  composers  being  so  centred  on 

the  music  of  the  Church,  or  other  vocal  forms,  it  is  easy 

to  realise  why  w^  have  so  few  fine  instru- 
Latc  Start  ,  .  . 

mental  compositions.     A  very  late  start  was 

made,  and  it  was  not  until  well  on  in  the  nineteenth 
century  that  our  own  composers  felt  inspired  to  put 
their  best  work  into  the  large  instrumental  forms.     The 

146 


Sterndale  Bennett 

start  once  made,  progress  was  good,  and  symphonic 
productions  have  been  improving  in  quality  right  up  to 
the  present  day.  But  we  have  not,  in  our  country,  a 
band  of  men  who  can  leap  into  fame  as  symphony 
composers  in  a  decade,  as  had  the  Russians.  Our 
development  is  slow,  we  feel  our  way  cautiously, 
and  it  may  be  some  few  years  yet  before  we  pro- 
duce symphonies  as  fine  as  those  given  us  by  other 
moderns,  even  if  we  ever  equal  them  in  this  par- 
ticular line. 

The  first  name  of  any  eminence  that  need  be  recorded 
is  that  of  William  Sterndale  Bennett,  and  this  more 
from  the    success    of   his    picturesque    and 

elegantly  conceived  overtures  than  from  his  ' 

^       1     c         u         •     n      ■  1816-75 

one  and  only  bymphony  m  G  mmor,  op.  43, 

which  was  only  moderately  successful.     Nevertheless, 

Bennett  gave  proof  that   an    English    composer  could 

write  orchestral    music   that   was   full    of  beauty   and 

originality.      Before    Bennett's    solitary    example   had 

come  Macfarren's  Symphony  in  F  minor,  produced  in 

1834,  while  John  Ellerton  (1801-73)  wrote  no  less  than 

six  symphonies,  now  practically  forgotten. 

Bennett's  example  was    followed  by  others.     Henry 

Leslie's  Symphony  in  F  (1847),  Barnett's  in  A  minor 

(1864),     Davenport's     two     symphonies    (1876,    etc.), 

Cliffe's    Symphony   in    C    minor   (his    most    esteemed 

147 


Story  of  Symphony- 
work)   dating-    from    1889,   and   a   second   from    1892, 
Prout's  three  works  (1S74,  1877,  and  1885  respectively), 
and  works    by   both    George   and    Walter   Macfarren, 
besides    others   of    less   repute,    show   that 

the  British  composer  was  devoting  attention, 

Followers  ,      ,  ^   .  ,  ^      .  ' 

and    that    not    without    some    considerable 

measure  of  success,  to  this  branch  of  music.     Sullivan's 

Symphony   in    E,    produced    in    1866,    g^ained    success 

more  perhaps  from  the  composer's  triumphs  in  another 

branch  of  the  art  than  from  its  intrinsic  merits,  thouerh 

these  were  by  no  means  slight. 

More   importance   attaches    to   the   works    of    three 

composers  born  about  the  same  time,  whose  symphonies 

are  still  played,  and  who,  moreover,  are  still 

writing  for  the  orchestra.     Sir  Hubert  Parry 
1848 —  . 

wrote  his  first  symphony  for  the  Birmingham 

Festival  of  1882  ;  his  last,  so  far,  is  one  in  B  minor, 
produced  at  the  Philharmonic  Society's  Concert  in 
December  19 12.  Intermediate  ones,  such  as  the 
"English"  and  the  F  (produced  by  Richter),  have 
been  very  frequently  performed.  In  his  newest  ex- 
ample Parry  goes  so  far  in  the  direction  of  pro- 
gramme   as    to     '  _ 


have    titles    for  /O 

his  "four  linked 
movements." 


C'^U^^ 


148 


Elg 


ar 


Sir  Charles  Stanford  has  written  symphonies  during 
the  greater   part    of  his    career   as   a  composer.     His 
Symphony    in    B  flat    was  produced  at  the 
Alexandra    Palace   in     1876,    and  his  latest      Stanford, 
("  In  Memoriam,"  G.  F.  Watts)  dates  from  ^^^^~ 

a  few  years  back.  The  most  representative  of  his 
works  in  this  direction  is,  however,  the  "Irish"  sym- 
phony, op.  28,  in  which  his  individuality,  and  his  happy 
ability  to  convey  in  his  music  the  impress  of  his 
nationality  are  very  marked. 

Sir  Frederic  Cowen's  symphonies,  six  in  number,  are 
characterized  by  the  feeling  of  poetry,  and  by  the  spirit 
of  fairy-like  grace  which  marks  so  much  of 
his  work.     Three  of  them  have  names.     The  ' 

"Scandinavian,"  the  "Welsh,"  and  the 
"Idyllic."  The  first  of  these  had  a  very  considerable 
vogue  about  the  time  of  its  production  (1880),  but 
Cowen's  many  delightful  overtures  and  symphonic 
pieces  are  more  frequently  heard  in  the  concert-room 
than  are  his  symphonies. 

Unlike  these  composers.  Sir  Edward  Elgar  waited 
until  he  had  achieved  great  eminence  in  many  other 
forms   of  music,         //  y    ^ 

and    had,    more-     ^^ '^^^c-c^-^  /y^^^f 
over,    attained 
to    very    great 

149 


Story  of  Symphony 


Elgar, 
1857— 


mastery  over  orchestral  resource,  before  he  ventured 
upon  the  production  of  symphonies.  His  first,  in  A 
flat,  did  not  appear  until  1908,  when  its 
composer  was  over  fifty  years  of  age.  Its 
success  was  phenomenal,  a  fact  largely 
due  to  the  g-reat  reputation  which  Elgar  had  already 
gained,  and  so  far  as  can  be  seen,  this  success 
has  been  but  short  lived.  The  music  is  fine,  but  not 
necessarily  symphonic  :  the  mystic  theme  with  which 
the  work  opens — 


Nobilmente  e  semplice 


although  particularly  typical  of  its  composer,  is  not 
perhaps  specially  typical  of  the  symphonic  form  :  the 
second  symphony,  in  E  flat,  dating  from  191 1,  also 
appears  to  have  gained  but  a  meagre  foothold  on  the 

150 


Modern  English  Composers 

shore  of  success.     Great  as  are  these  works  they  are 

neither  so  strong  nor  so  convincing  as  many  of  Elgar's 

less  classically  conceived  tone  pictures  for  the  orchestra. 

Many  of  our  younger  British  composers  are  writing 

orchestral  works  of  great  originality  and  beauty.     The 

symphonic    poem    is    much    practised    by 

-  .  ,      ,  ,       .  Younger 

them,  but    few    write    actual    symphonies. 

Composers 
The   following   names    may   be  mentioned 

here  as  composers  of  work  which  is  symphonic  in  scope 

if  not  in  name  : — 

William  Wallace  (i860-). 
Edward  German  (1862-). 
p.-afjerick  Delius  (1863-). 
Granville  Bantock  (1868-). 
Vaughan  Williams  (1872-). 
Josef  Holbrooke  (1878-). 


^ 


151 


CHAPTER   XIII. 


RUSSIAN    SCHOOL. 


New  Russian  composers — Tchaikovsky — His  early  symphonies — F 
minor  Symphony — The  E  minor  Symphony — The  "Pathetic" 
Symphony — A  false  comparison — Rimsky-Korsakoff — Glazounoff 
— Other  Russians — Finns  and  Poles. 

The  overwhelmingly  rich  and  powerful  flood  of  music 
that  has  been  poured  out  by  Russian  composers  during 
the  last  fifty  years  is  one  of  the  most  extraordinary 
features  of  modern  music.  The  influence  of  these  men 
has  been  in  the  main  upon  opera,  but  in  other  branches 
of  the  art,  and  notably  in  symphony,  they  have  also 
called  attention  to  themselves  not  only  in  their  own 
country  but  throughout  the  civilized  world.  The  works 
of  Rubinstein  (see  Chapter  IX.)  are  too  German  in 
method  and  idea  to  rank  as  really  Russian  creations, 
but  with  the  advent  of  Tchaikovsky  the  Russian 
symphony  becomes  a  thing  of  reality. 

There  are  many  who  affirm  that  Tchaikovsky's 
music  is  also  not  really  Russian  ;  that  he  is  of  the 
Wes-t   rather  than    of  the   East  ;    that   the   impress   of 

152 


Tchaikovsky 


German   influence   is   so   strongly  shown  in  his  works 
that  he  cannot  be  classed  as  a  '*  nationalist  "  composer. 
This  is  to  some  extent  true,  but  his  inclu- 
sion of  Russian  melodies  in  his  works,  his 

1840-93 
employment  of  national  dance  rhythms, 

and  above  all  the  characteristic  melancholy  which 
breathes  through  so  much  of  his  output,  incline  one 
to  place  him  with  this  school,  spite  of  his  adherence  to 
some  measure  of  classical  form  and  his  non-adherence 
to  many  of  the  tenets  of  the  '*  Koutchka."^ 

The  symphonies  of  Tchaikovsky  are  now  well 
established  in  public  favour.  They  are  six  in  number, 
and  of  these  the  first,  "Winter  Dreams,"  op.  13 
{1866),  the  second,  in  C  minor,  op.  17  (1872),  and 
the  third,  "The  Polish,"  op.  29  (1875),  are  seldom 
played,  although  they  contain  much  fine  music;  the 
second,  with  its  many  Little  Russian  themes,  has  been 
described  as  "perhaps  the  most  distinctively  national 
of  all  Tchaikovsky's  works."  ^ 

^  The  "Koutchka"  was  a  name  given  to  five  nationalistic  musicians, 
Balakireff,  Borodine,  Dargomijsky,  Rimsky-Korsakoff,  and  Mous- 
sorgsky,  who  formed  a  kind  of  league  with  the  determination  to  break 
away  from  formalism  and  classic  tradition  in  musical  composition. 

^  For  a  more  complete  account  of  this,  and  of  Tchaikovsky's  other 
symphonies,  and  for  musical  extracts  from  their  pages,  the  author's 
volume,  Tchaikovsky,  in  John  Lane's  "Music  of  the  Masters"  Series, 
may  be  consulted. 


Story  of  Symphony 

The  three   last   symphonies    are   much   more   widely 

known.     The  fourth,  in  F  minor,  op.   36  (1877),  dedi- 

_     ,  cated   "To   my  best  friend"  (Madame  von 

F  minor  .  .  ,     . 

Meek),  was  a  favourite   with  its  composer, 

and  was  chosen  by  him  for  performance  by  the  London 

Philharmonic   Society  in   1893.      It  is  full   of  interest, 

and  has  since   been   shown,  by  the  publication   of  his 

correspondence,  to  have  a  full  programme  basis.     It  is 

largely  dominated  by  what  Tchaikovsky  calls  **  Fate," 


and  alternative  themes  represent  "hopeless  despair" 
and  "  happiness."  The  second  movement,  song-like 
and  sweetly  sad,  represents  "another  phase  of  suffer- 
ing"; the  third,  extraordinary  in  its  rapid  pizzicato 
and  its  contrast  of  the  different  sections  of  the  or- 
chestra, is  "  a  series  of  confused  images  which  pass 
through  our  thoughts  as  we  fall  asleep";  while  the 
fourth,  wild  and  impetuous,  with  a  folk-song  basis, 
depicts  happy  scenes  of  rejoicing,  with,  however,  the 
sinister  shadow  of  "  Fate  "  imminent  over  all. 

The  same  kind  of  procedure  is  adopted  in  the  fifth 

,  symphony,  op.  64  in  E  minor,  in  which  the 

£.  minor 

sad    melody   announced    by   the    clarinet   at 

the  very  outset 

154 


The  ^'Pathetic" 


Andante. 


Clar 


is  employed  in  each  of  the  four  movements  with  an 
effect  that  is  dramatic,  and  which  evidently  implies 
some  programme  in  the  composer's  mind.  The  slow 
movement  of  this  work  is  one  of  the  most  lovely 
of  all  Tchaikovsky's  many  beautiful  creations,  and  is 
specially  noticeable  for  the  richly  varied  character  of 
its  orchestration. 

The  last  of  Tchaikovsky's  symphonies  is  the  well- 
known  *'  Pathetic."  It  was  not  so  called  at  first,  and 
was  only  given  this  name  after  a  compara- 
tively poor  reception  had  been  accorded  to 
its  initial  performance.  It  was  written  during  the  last 
summer  (1893)  of  his  life,  and  his  tragically  sudden 
death,  combined  with  the  fact  that  his  last  work  had 
been  thus  named  by  him,  aroused  a  good  deal  of  senti- 
mental interest  not  of  the  best  kind.  The  work  has 
lived  down  its  melodramatic  and  rather  unfortunate 
early  reputation,  and  is  accepted  now  on  its  own 
merits.  These  are  great,  despite  the  somewhat  over- 
pessimistic 


B  minor 


character 
of  its  last 
movement; 


(/.     uoAa^ 


155 


Story  of  Symphony 

such  exquisite  melodic  passages  as  that  given  to  the 
clarinet  in  the  first  movement, 


Andatite. 


p^^^^^ 


1'=^=:^ 


rit 


^^ 


and   such    rhythmic    charm    as    that    displayed    in    the 
famous  five-four  movement 


are  examples  of  features  that  have  contributed  to  the 

fact   that   the    symphony  is,    or    has    been    until    quite 

recently,  the  most  widely  "accepted"  (in  the  popular 

sense)  of  all  symphonies. 

Of  course,  the    symphonies   of  Tchaikovsky  cannot 

be  compared  with  those  of  Beethoven  for  pure  beauty 

or  perfection  of  form,  although  they  natur- 
Falsc 

,         ally  exceed  the   examples   of   the   German 
Comparison  .  ^ 

composer  in  their  rich  and  elaborate  or- 
chestral colouring.  Nor  can  they  be  said  to  equal, 
in   dignity  and   real   musical   feeling,   those   of  such   a 

156 


\By  Permission  of  Messrs.  J.  &=  li"-  Chester. 
N.  A.  RIMSKY-KORSAKOFF. 


Other  Russians 

modern    master    of  the    first    rank    as    Brahms.      Fate 

is    not    very    likely    to    deal    particularly    kindly    with 

the  music    of  Tchaikovsky,  but  it  is  all   nonsense  to 

decry  him   as    some    do    in    the    present    day,   and   to 

write  him   down   as   merely  a  neurotic   and  emotional 

individual.     Though  not  a  composer  of  the  very  highest 

order,  he  yet  has  much  to  say  to  us. 

Another  composer  whose  symphonies  have  obtained 

a  wide  following  is  Rimsky-Korsakoflf.     His  first,  op.  i, 

performed  in   1865,  was  one  of  the  earliest 

produced    of    native    symphonies,    and    as  ^ 

•            ^r       ,  Korsakoff, 

such  had  a  great  reception.      Of  subsequent  „            _ 

^                  ^                              ^  1844-1908 

works,-    his     second     symphony,     "Antar," 
afterwards    revised    and    announced    as   an    "  Oriental 
Suite,"  is  the  best  known.     He  latterly,  however,  gave 
his  attention  rather  to  opera  than  to  orchestral  work. 

More  famous  in  the  direction  of  symphony  is  Alex- 
ander Glazounofif.      His   first  was  written   at  the   age 
of  sixteen,  and  up  to  the  present  he  hsT2 
penned  seven   others,   the   eighth   (op.  8'x)  * 

appearmg  a  tew  years  back.  We  find  no 
titles  to  the  symphonies  of  this  composer;  he  is  of  a 
different  order  to  the  majority  of  Russian  composers 
in  that  he  works  very  largely  on  classical  models 
and  has  been  considerably  influenced  by  Brahms.  His 
harmony  and  orchestration  are  rich,  and  his  power  of 

157 


Story  of  Symphony 

developing"  an  idea  very  considerable.  His  fourth  and 
sixth  symphonies  are  the  most  frequently  performed, 
A  quotation  from  the  former 


Andante 

Cor  Ani^lais 


will  show  that  he  sometimes  exhibits  the  vein  of 
melancholy  which  we  have  now  learned  to  expect 
from  Russian  composers. 

There  are  many  other  successful  Russian  composers 
of  symphonies  whom  limits  of  space  preclude  from 
more  than  a  mere  mention,  and  the  reader  must  be 
referred  to  Appendix  A  for  these.  The  names  of  the 
more  prominent  may  be  given  here: — 

Borodine  (1834-77). 
Balakireff  (1836-1910). 
Arensky  (1862-1906). 
Scriabine  (1872-1915). 
Rachmaninoff  (1873 — ). 
GH6re  (1874—). 
158 


"  Finlandia  " 

The  richness  of  musical  art  has  overflowed  from 
Russia  into  both  Finland  and  Poland.  Of  Finnish 
composers,  Jean  Sibelius  (1865 — )  has  won  fame  for 
much  of  his  orchestral  music,  which  includes  two 
symphonies  and  the  popular  tone-poem  "  Finlandia." 
Of  Polish  birth,  the  celebrated  pianist,  Paderewski 
(i860 — ),  numbers  a  symphony  in  B  minor  amongst 
his  compositions. 


159 


CHAPTER  XIV. 

MODERN  SYMPHONY  COMPOSERS. 

Smetana — Dvorak — Saint-Saens — Cesar  Franck — Scandinavian  com- 
posers —  Modern  Germany  —  Bruckner  —  Mahler  —  Sgambati — 
American  composers — Modern  orchestras. 

Smetana,  the  father  of  modern  Bohemian  music, 
appears  nowadays  to  belongf  to  a  somewhat  remote 
period  of  the  art.  Yet  his  ideas  are  very 
Smetana,  often  post-symphonic  and  tend  in  the  direc- 
^  ^^~  ^  tion  of  programme  music.  His  chief  title  to 
fame  lies  in  opera  :  but  a  most  striking  work  of  his  is 
the  fine  symphonic  poem,  "Mein  Vaterland."  This  is 
in  six  sections,  each  of  which  forms  a  complete  work  in 
itself.  These  sections,  a  performance  of  individual 
numbers  of  which  is  fairly  frequent,  are  entitled — 

"Vysehrad." 

''Vltava." 

"Sarka." 

*' Aus  Bohmen's  Hain  und  Flur." 

"Tabor." 

"Blanik." 

1 60 


iC 


New  World "  Symphony 


Bohemia  produced,  however,  a  pupil  and  disciple  of 
Smetana,  Antonin  Dvofdk,  who  easily  outstripped 
his    master   in    both    name    and    fame,    and 


Dvoifak, 
1841-1904 


whose  symphonies,  more  especially  that 
entitled  "  From  the  New  World,"  op.  95, 
have  won  great  popularity.  Of  his  five  symphonies 
the  two  last  are  much  played  ;  that  in  G  major,  op.  88, 
contains  much  that  is  fresh  and  delightful,  while  the 
"New  World"  Symphony  owes  much  of  its  charm  to 
the  many  melodies  of  Indian  origin  which  it  includes. 
Dvorak  gathered  his  material  very  largely  from  the 
American  Indians,  and,  moreover,  assimilated  his  own 
style  so  happily  to  that  of  the  borrowed  material,  that 
this  has  become  perhaps  his  most  popular  and  esteemed 
work.  Two  extracts,  one  in  quick,  the  other  in  slow 
time,  must  suffice  to  show  the  kind  of  melodic  idiom 
on  which  this  very  delightful  symphony  is  founded — 


Allegro  molto. 


Fl.&Ob,  /z 


'^-u^k 


161 


Story  of  Symphony 


Largo 


Saint-Sacns, 
1835— 


Cor  AjigTaia 


With  brief  mention  of  Napravnik  and  Fibich,  both 
symphonic  composers,  this  list  of  Bohemian  symphonists 
may  close. 

In  France  still  lives  the  veteran  composer,  Saint- 
Saens.  With  wonderful  versatility  he  has  given  to  the 
world  music  of  every  kind.  His  sym- 
phonies, three  in  number,  have  not  attracted 
much  attention,  although  the  third,  which 
contains  parts  for  the  organ  and  for  pianoforte  duet  in 
addition  to  the  usual  orchestral  instruments,  has  had  a 
good  many  performances.  More  interest  has  been 
excited  by  his  symphonic  poems,  all  of  which  are  fre- 
quently played.     They  are  entitled — 

"  Rouet  d'Omphale,"  op.  31. 

"  Phaeton,"  op.  39. 

"  Danse  Macabre,"  op.  40. 

"  La  Jeunesse  d'Hercule,"  op.  50. 

C^sar  Franck,    a    Belgian    by  birth,  is  ranked   as  a 
French   composer  by  reason  of  his  long 
residence  in  that  country.     His  reputation 
has  only  grown  very  gradually,  and  his 
works  are   only  now    beginning   to    be    appreciated  at 


Cesar  Franck, 
1822-90 


162 


Cesar  Franck 

something-  like  their  proper  value.  His  Symphony  in 
D  minor,  written  in  1899  at  the  close  of  his  life,  is 
proving:  its  importance,  and  his  symphonic  poems, 
"Les  Eolides"  and  "  Les  Djinns,"  are  often  to  be 
heard. 

Amongst  other  French  composers  of  modern  sym- 
phonic works  may  be  mentioned — 

Vincent  d'Indy  (1851— ). 
Gustav  Charpentier  (i860 — ). 
Paul  Dukas  (1865—). 

Scandinavian  composers  have  not  been  idle.  The 
name  of  Niels  W.  Gade  has  already  been  mentioned. 
Svensden,  a  Swede  (1840-1911),  Ole  Olsen  (1850 — ), 
and  Christian  Sinding-  (1856 — ),  Norwegians,  have  done 
good  work  in  the  direction  of  symphony. 

Very  interesting  are  the  works  of  modern  German 
composers  for  the  orchestra.  Like  men  of  other 
nationalities  the  Germans  have  largely  succumbed  to 
the  influence  of  the  programme  basis  for  their  work  and 
its  natural  resultant,  the  symphonic  poem.  But  there 
are  still  men  working  in  Germany  who  believe  that  the 
symphony,  as  a  form,  presents  possibilities,  and  who 
endeavour  to  carry  on  the  work  of  their  great  classical 
forerunners. 

Of  these  the    oldest   is  Antoa    Bruckner.     His   nine 

163 


Story  of  Symphony 

symphonies  are    little  known  in  this    country,    though 
they  are  much  played  in   Germany.     He  was  a  com- 
poser of  very  serious  mien,  whose  work  at 

,    *    one  time  was  compared  with  that  of  Brahms. 

1824-96  "  ,  .       . 

Opmions  vary  much  as  to  the  real  merit  of 

his  music,  but  most  acknowledge  that  he  was  very 
considerably  under  the  influence  of  Wagner,  and  that 
there  is  much  rich  romanticism  in  his  symphonies. 

Passing  over  Ferdinand  Hiller  (181 1-85),  Robert 
Volkmann  (1815-83),  and  Max  Bruch  (1838 — ),  we 
come  to  a  more  interesting  personality  in  Gustav 
Mahler  (i860 — ),  whose  symphonies  have  created  no 
small  sensation.  This  is  due  to  some  extent  to  the 
somewhat  abnormal  length  to  which  they  run  (the 
seventh  takes  seventy-five  minutes  in  performance),  and 
to  the  unusual  employment  of  voices  both  in  solo  and 
chorus.  (See  Chapter  XVII.)  His  nine  or  ten  sym- 
phonies are  colossal  works,  and  excite  much  discussion 
as  to  their  merits.^     His    themes  are   usually  of  great 

^  A  considerable  amount  of  information  and  much  interesting 
comment  on  the  Symphonies  of  Bruckner  and  Mahler  may  be  read  in 
Weingartner's  "Symphony  Writers  since  Beethoven."  See  Biblio- 
graphy. 

164 


Mahler  Theme 

length,  but  here  is  an  eight-bar  subject  from  one  of  his 
works. 


Scherzo  from  Mahlet's  6th  Sjmrpbony. 
Wachtig. 


Other  Germans  of  fame  in  this  connection  are  Fehx 
Weingartner  (1863 — ),  Richard  Strauss  (1864 — ),  and 
Max  Reger  (1873 — ).  Strauss,  although  he  wrote  an 
early  symphony,  may  be  more  properly  considered  as 
a  composer  of  symphonic  poems  (see  Chapter  XV.). 

Italian  composers  of  the  last  fifty  years  have  devoted 
far  more  attention  to  opera  than  to  the  symphony,  or 
any  other  form  of  absolute  music.  Exceptions,  and 
notable  ones,  are  Giovanni  Sgambati  (1843-1914),  an 
upholder  of  classic  music  in  Italy,  and  Giuseppe 
Martucci  {1856-1909),  whose  symphonies  are  fairly 
well  known  and  much  esteemed. 

American  composers  have  not  come  very  much  to  the 
fore  as  symphonists.  MacDowell  (1861-1908)  wrote 
little  for  the  orchestra,  and  did  not  get  beyond  the 
symphonic  poem.  John  Knowles  Paine  (1839-1906), 
George  Whitfield  Chadwick  (1854—),  and  others  who 

165 


Story  of  Symphony 

have  written  symphonies  have  not  had  much  success 

beyond  the  borders  of  their  own  country. 

The  instruments  employed  by  composers  of  modern 

symphonies  are  many  and  varied.     All,  however,  take 

as  the  foundation  of  the    orchestra  the  in- 

^    ,  struments  of  the  "Classical  Orchestra"  of 

Orchestras 

Beethoven.     In  addition  to  these,  the  tuba 

is  now  almost  uniformly  present  as  a  bass  to  the  trom- 
bones. The  most  important  addition  to  the  wood-wind 
instruments  is  the  cor  anglais,  so  effectively  employed 
by  Dvorak  in  his  symphony  "From  the  New  World." 
The  clarinet  in  D,  used  by  Richard  Strauss  in  his 
"  Domestic  Symphony,"  various  forms  of  saxophones, 
and  other  occasionally  introduced  instruments  are  not 
yet  regular  constituents  of  the  symphonic  orchestra. 
Various  percussion  and  special  effects  are  now  and  then 
employed,  such  as  the  gong-  (or  tam-tam)  in  Tchai- 
kovsky's "Pathetic  Symphony,"  the  cymbals  (Saint- 
Saens,  etc.),  the  xylophone,  celesta,  etc.  The  only 
really  important  additions  to  Beethoven's  orchestra 
from  the  musical  (as  apart  from  the  sensational)  point  of 
view  are  the  cor  anglais,  the  tuba,  and  the  harp. 
The  organ  and  the  piano  are  also  at  times  introduced 
into  their  scores  by  more  recent  symphonic  composers. 
(See  Appendix  C.) 


1 66 


CHAPTER   XV. 

SYMPHONIC,    OR   TONE    POEM. 

A  definition — How  it  differs  from  a  symphony — Means  employed — 
Liszt  and  Berlioz — Their  followers — Russian  composers — Strauss. 

Mention  has  already  been  made  on  several  occasions 
of  the  symphonic  poem.  Its  rise  and  development  has 
been  one  of  the  most  prominent  features  of  present- 
day  music.  It  may  be  described  as  a  work  for  the 
orchestra,  amorphous  in  form  but  of  symphonic 
dimensions.  Its  particular  characteristics  are  the 
depicting  of  a  story  or  of  a  series  of  incidents 
suggested  by  the  title  of  the  piece. 

It  differs  from  the  symphony,  and  from  the  closely 
allied  concert  overture,  by  its  absence  of  form.     We 

have    already   seen    that    a    symphony   is 

,  ,  .  ,       r  How  it 

almost  always  cast  mto  a  regular  form  or 

■'  °  differs  from 

shape,  and  though  it  may  have  a  title,  and  ^  Syj^p^ony 
at   times  a  programme,    this  architectural 
design  is  pretty  generally  adhered  to.     The  symphonic 
poem    also   may   be   cast   into   the    recognized   mould 
framed  by  the  classic  composers;  but  it  is  much  more 

167 


Story  of  Symphony 

often  without  definite  plan  of  construction;  it  is  more 
usual  for  each  work  to  attempt  to  illustrate  the  picture 
which  the  composer  desires  to  conjure  up  before  the 
mind  of  the  hearer;  the  individual  fancy  and  bias  of  the 
writer  also  has  a  pronounced  effect  upon  the  shape  of 
the  work. 

The  symphonic  poem  more  often  than  not  contains 
other  elements  which  differentiate  it  from  the  sym- 
phony; much  use  is  frequently  made,  for  purposes  of 
definite  delineation,  of  the  leit  7notif;  the  orchestration 
generally  seeks  to  be  of  a  picturesque,  and  is  some- 
times of  an  extravagant  order;  and  '"effects"  (occa- 
sionally of  an  experimental  nature)  are  frequent.  It 
is  usually  in  one  long  movement,  or  in  a  series  of 
movements  of  different  time  and  style  but  linked  up 
by  connecting  bars,  and  played  without  break. 

The  term  was  invented  by  Liszt,  who  has  been  called 
the  "  Father  of  the  Symphonic  Poem."  It  was  applied 
L'  t  d  ^^  ^'"^  ^°  ^'^  twelve  orchestral  pieces  which 
Berlioz  ^^^^     ^     programme     nature,     which     were 

ambiguous  in  form  and  in  which  the  prin- 
ciple of  the  metamorphosis  of  themes  was  first  seriously 
utilized.  His  chief  works  in  this  direction  (Dante, 
Tasso,  Orpheus,  etc.)  are  better  known  than  his  sym- 
phonies and  have  more  historical  significance.  Berlioz, 
although  working  much  on  the  same  lines,  does  not 

1 68 


Tone  Poems 

use  the  term.      His    orchestral   works  which   are  not 
symphonies  are  usually  concert  overtures. 

Of  the  older  composers  who  have  followed  the  lead 
of  Liszt  may  be  mentioned  the  Bohemian,  Smetana, 
the  titles  of  whose  works  have  already  been  given. 
His  disciple,  Dvorak,  also  wrote  many  symphonic 
poems  at  the  close  of  his  career,  but  they  have  not 
equalled  in  importance  or  interest  the  symphonies  and 
overtures  in  which  he  was  so  successful,  Saint-Saens' 
four  examples  have  been  mentioned  in  Chapter  XIV. 

Russian  composers  have  to  some  extent  adopted 
the  term.  Balakireff  has  given  us  "  In  Boheme,'.' 
"Russia,"  and  "Thamar";  Borodine,  "Dans 
les  steppes  de  I'Asie  Centrale";  Glazounoff, 
««The  Forest,"  "The  Kremlin,"  "The  Sea,"  °™P°"" 
"  Stenka  Rasine,"  etc.;  Glinka's  "  Kamarinskaja"  is 
well  known,  as  is  Noskowski's  "La  Steppe";  Tchai- 
kovsky's "  Fatum,"  "Manfred,"  "  Francesca  da 
Rimini,"  and  "Voievoda"  also  belong  to  this  class 
of  composition.  At  this  point  it  may  be  mentioned 
that  it  is  a  little  hard  to  tell  sometimes  whether 
an  orchestral  work,  unless  specifically  entitled  by  its 
composer,  should  be  designated  as  a  symphonic  poem,  a 
tone  poem,  a  concert  overture,  a  fantasia,  or  a  rhapsody. 

The  more  modern  symphonic  poem  owes  its  exist- 
ence mainly  to  Richard  Strauss.     His  series  of  works 

169 


Story  of  Symphony 

in  this  form,  together  with  his   operas,  constitute  his 

chief  title    to    fame,    and    have    made    his    name   now 

almost  a  household  word.     The  world  has 
Strauss  ,  ,  .  ,      , 

not  been  slow  to  appreciate  the  beauty,  or 

to  recognize  to  some  extent  the  extravagance  of  these 
works,  and  they  have  been  played  latterly  in  this 
country  until  they  rank  almost  as  familiarly  as  the 
symphonies  of  Beethoven.  They  are  very  frequently 
extremely  free  in  their  harmonies,  complex  in  texture, 
and  surprisingly  clever  in  their  orchestration.  The 
earlier  ones,  such  as  "  Don  Juan,"  "  Death  and  Trans- 
figuration," and  "Till  Eulenspiegel,"  have  met  with 
more  acceptance  than  such  recondite  examples  as 
"Thus  spake  Zarathrustra,"  "Don  Quixote,"  and  the 
"  Domestic  Symphony." 

The  influence  of  Strauss  has  been  widely  felt.  Most 
composers  of  the  younger  generation  turn  to  the  com- 
position of  symphonic  poems  rather  than  to  that  of 
symphonies.  The  greater  freedom  of  form,  the  stimulus 
of  the  "story,"  and  the  romantic  nature  of  the  whole, 
make  it  very  attractive.  Debussy  with  his  "  L'Apres- 
midi,"  "Futes,"  etc.,  Scriabine's  "Divine  Poem," 
many  of  the  works  of  the  young  composers  of  our  own 
and  other  countries,  are  monuments  to  this  influence. 
The  very  name  of  such  composers  is  legion ;  for  the  most 
part  their  work  is  too  near  our  own  day  to  judge  of 

170 


Scriabine 


its  value  or  of  its  possible  importance.  Their  methods 
of  expression  are  to  a  larg-e  extent  novel,  and  to  a 
still  larger  disconcerting-.  But,  speaking  broadly,  the 
symphonic  poem,  though  interesting,  can  never  attain 
the  position  which  the  symphony  holds.  In  striving 
to  express  definite  ideas,  to  carry  out  a  suggestive 
programme,  there  is  that  great  loss  of  dignity  which 
the  symphony,  of  all  musical  forms,  has  striven  most 
to  keep.  But  a  discussion  of  this  point  must  be 
relegated  to  our  next  chapter,  and  one  extract  from 
one  of  the  most  modern  examples,  Scriabine's  *'  Divine 
Poem,"  must  suffice  to  show  the  kind  of  music  con- 
tained in  so  many  of  these  recent  works. 

From  First  movement. 


pV'i.  r  Sf  r 


Q^4^y-J^P^^ 


fz:izT 


171 


M 


W 


a^'f-^^itu 


CHAPTER  XVI. 

FUTURE    OF   THE    SYMPHONY. 

Is  there  a  future? — Wagner's  views — These  views  criticized — An 
imaginary  picture — What  we  should  miss — The  symphonic  poem 
— Its  appeal — What  of  the  future? — An  answer. 

There  are  some  who  believe  that  the  symphony  has 

no  future;  that,  as  a  form,  it  has  been  exploited  to  its 

fullest  capacity,  and  that,  in  common  with  the  fugue 

and  the  sonata,  its  tale  of  greatness  is  already  told, 

modern  works  being-  but  a  feeble  and  pale  reflection  of 

an  erstwhile  glory. 

Nor  is  this  idea  one  of  the  present  day  only;  no  less 

a  person  than  Richard  Wagner  affirmed  that  the  right 

of  composing  symphonies  was  abolished  by 

_^,  Beethoven's  Ninth.     His  words  are:    "The 

Views 

last  symphony  is  the   redemption   of  music 

from   her  own  peculiar  element  and  her  incorporation 

in  the  universal  art.     It  is  the  human  gospel   of  the 

art  of  the  future.     Beyond  it  no  progress  is  possible; 

for  upon  it  there  can  follow  only  the  perfect  art-work 

of  the  future,  the  universal  drama,  to  which  Beethoven 

172 


Symphony  since   Beethoven 

has  forged  for  us  the  key."  That  Beethoven  himself 
did  not  conform  to  this  opinion  is  proved  by  the  fact 
that  he  himself  began  sketches  for  a  tenth  symphony, 
which  unfortunately  did  not  materialize. 

In  spite  of  Wagner's  dictum,  composers  subsequent 
to  Beethoven  have  continued  to  write  symphonies.  It 
is  almost  inconceivable,  this  idea  that  no  progress  is 
possible;  such  a  wondrous  magician  with  the  orchestra 
as  Wagner  must  himself  have  realized,  had  he  not 
been  so  busily  engaged  in  attempting  to  prove  the 
unprovable,  that  the  wonderful  advance  in  perfection 
of  orchestral  instruments,  and  the  consequent  progress 
in  orchestration,  would  cause  earlier  symphonies  (even 
those  of  Beethoven  himself)  to  sound  old-fashioned 
and  comparatively  thin.  Doubtless  his  mind  was 
centred  more  on  the  music  than  on  the  method  of 
presenting  it;  upon  the  serene  glory  of  the  rich  musical 
thoughts  rather  than  upon  the  inefficiency  (to  modern 
minds)  of  their  representation.  Even  then,  however, 
Wagner  could  hardly  have  believed  that  the  coming 
generations  would  not  find  beauty  in  works  of  sym- 
phonic form  subsequent  to  the  Beethoven  period. 

Let  us  try  to  imagine  a  series  of  orchestral  concerts 
in  the  present  day  which  should  include  no  symphonies 
after  Beethoven's.  We  should  hear  far  more  of  the 
work  of  Haydn  and  Mozart  than  we  do,  which  would 

173 


Story  of  Symphony 

perhaps  be  as  well;    Beethoven  would,  I  suppose,  be 

played  at  every  concert,  and  for  occasional  variety  we 

might    have    some    Carl    Philip    Emmanuel 

Bach,  which  would  be  interestmg-  now  and 

^,  asrain,  and  a  work  by  some  one  like  Wra- 

Picture  &       ' 

nitzky  or  Gossec  (which  Heaven  forbid  !). 
Side  by  side  with  this  we  should  have  the  most  modern 
orchestral  tone-poems  and  rhapsodies,  which  by  their 
fulness  of  orchestration,  their  complex  modernity,  and 
their  utter  differences  of  style,  would  cause  the  older 
works  to  sound  really  more  threadbare  and  jejune 
than  they  should. 

And  what  should  we  miss  ?  First  of  all  the  sym- 
phonies of  Mendelssohn,  Schumann,  and  Raff.  Perhaps 
we  could  get  along  without  these,  although  many 
would  regret  the  sparkling  "  Italian "  Symphony. 
Then  the  glorious  works  of  Brahms,  which  are  becom- 
ing more  and  more  precious  to  concert  goers;  every 
re-hearing  of  these  confirms  the  feeling  that  they  are 
master-works,  fit  to  stand  side  by  side  with  the  works 
of  even  the  great  Bonn  composer.  Next  would  go  all 
the  productions  of  the  Russian  composers,  with  their 
very  marked  individuality,  their  wonderfully  picturesque 
orchestration,  and  their  novel  outlook.  These  works 
may  not  perhaps  rank  on  a  par  with  the  really  great 
symphonies,  but  they  meet  our  needs  of  the  day,  and 

174 


A   Comparison 


as  yet  we  cannot  spare  them.  Finally,  we  should  miss 
every  sincere  and  noble  effort  in  absolute  music  for 
the  orchestra  alone ;  for  it  must  be  admitted  that, 
however  attractive  the  modern  forms  of  orchestral 
suite,  symphonic  tone  poem,  and  so  forth  may  be, 
your  really  serious  composer,  when  he  wishes  to  put 
before  the  world  his  highest  and  best  thoughts,  still 
turns  to  the  symphony. 

And  here  it  will  be  as  well  perhaps  to  state  in  what 
ways  the  symphony  is  superior  to  the  symphonic  poem. 
In  the  first   place,   the   fact   that   it   has   a 

Svmnfinnir 

definite  and  pre-determined  shape,  or  form,  _ 

.     .  .  .  Poem 

is    a    distinct    advantage ;    the    listener,    if 

intelligent,  knows  what  to  expect;  he  is  not  constantly 

disturbed  by  unexpected  and  partly  incomprehensible 

changes  of  mood.     He  listens  to  the  music  as  music, 

without  having  to  read    into  it  extraneous   ideas ;    it 

appeals    to    him    by    its    own    merits,    and    does    not 

depend  upon   meretricious   influences.      This  leads   us 

to  "secondly" — which  is,  that  music  is  never  on  quite 

so  high  a  plane  when  depicting,  or  striving  to  depict, 

external  objects,  incidents,  or  occurrences,  as  when  it 

is  merely  concerned  with  an  expression  of  the  beautiful ; 

it  may  gain  in  picturesqueness,  it  may  perhaps  rivet 

the  attention  more,  it  may  indulge  in  the  eccentric  and 

the  bizarre;    but  it  lacks  the  great  dignity  which  we 

175 


Story  of  Symphony 

find  in  the  best  forms  of  absolute  music;  its  appeal  to 
the  imagination  is  direct  rather  than  by  suggestion, 
and  it  lays  itself  open  to  abuse.  Thirdly,  the  music  of 
the  symphonic  poem  tends,  in  following  a  story,  to 
lose  its  individuality ;  it  approximates,  in  the  best 
examples,  more  to  the  music  of  the  stage,  and  in  the 
worst,  more  to  the  music  of  the  cinema !  But  it 
rarely  remains  on  a  consistently  high  level  throughout, 
although  such  beautiful  examples  as  Strauss'  "Death 
and  Transfiguration "  may  well  rank  with  the  best 
pages  of  musical  literature. 

And  yet,  of  late  years,  the  appeal  of  the  symphonic 
poem   has   been    greater,    both    to   composers   and   to 

audiences,    than    has    that    of    symphony. 

Doubtless  there  are  many  who  feel  them- 
selves incompetent  to  pit  their  strength  against  that  of 
Beethoven  and  other  great  symphonists,  and  yet  know 
that  they  have  something  to  say;  many  also  find  a  more 
ready  means  of  self-expression  in  the  vivid  opportunities 
offered  by  title  and  programme ;  many  are  more  success- 
ful in  the  "  single-movement"  form  than  in  the  lengthy 
symphony,  with  its  diversity  of  movement  which  yet 
demands  such  unity  of  purpose.  And  practical  and 
mundane  as  such  a  suggestion  must  be,  many  again 
feel  that  a  symphonic  poem,  on  a  story  that  may  appeal 
to  the  public,  will  obtain  much   more    readily    both    a 

176 


What  of 
the  Future? 


Modern  Tendencies 

performance  and  a  publication  than  would  a  symphony, 
which  would  probably  lie  dusty  and  neglected  on  a 
shelf  for  years.  But  whatever  the  considerations,  com- 
posers certainly  to-day  lean  much  more  readily  in  the 
direction  of  tone  poem  than  of  symphony;  such  com- 
posers as  Glazounoff  and  Elgar  are  notable  exceptions. 

What  then  of  the  future?  Is  the  symphony  a  form 
that  is  used  up?  Will  audiences  in  a  hundred  years 
time  feel,  in  listening  to  a  symphony,  that 
they  have  been  enjoying-  something  archaic, 
as  we  do  to-day  when  we  listen  to  a 
sixteenth-century  madrigal,  or  to  a  motet  of  Palestrina? 
Will  they  feel  that  the  old  is  better  than  the  new,  even 
as  we  feel  in  hearing  a  Bach  fugue  after  one  of  the 
more  modern  examples  of  fugal  construction  ?  Or  will 
another  great  composer  of  symphonies  arise,  one  who 
will  compare  with  the  greatest  of  bygone  days  ? 

This  question  is  not  easy  to  answer.  Weingartner 
draws  an  imaginary  picture  of  the  future  symphony 
composer,  and  shows  what  manner  of  man  he  must 
be.  The  task  is  no  slight  one,  but  there  is  not  any 
reason  to  despair  of  its  being  undertaken.  It  is  in- 
conceivable that  this  magnificent  form  should  not  be 
pursued  in  the  future,  and  some  day  the  great  man 
will  arise.     But  for  the  time  being  the  word  is  patience. 

How  rapid  was  the  development  of  the  symphony  from 

177  12 


Story  of  Symphony 

the  early  examples  of  Haydn  to  the  ripe  productions 
of  Beethoven  and  Schubert !  Progress  was  too  rapid 
to  be  maintained,  and  it  was  quite  a  considerable  time 
before  Brahms  appeared  upon  the  scene.  Now  again 
we  seem  to  be  going  through  a  period  of  interregnum, 
and  probably  it  will  last  longer  than  did  the  earlier 
one.  The  day  may  never  come,  but  if  it  does  it  will 
be  a  Titan  that  it  will  bring  with  it. 


178 


CHAPTER   XVII. 

CURIOSITIES    AND   EXPERIMENTS    IN    SYMPHONY. 

Haydn — "Farewell"  Symphony — Beethoven's  "Choral" — Voices  as 
symphonic  forces  —  "  Battle  "  Symphony  —  Schubert's  "  Un- 
finished "—Spohr— The  "Earthly  and  the  Divine"— "  Historic" 
Symphony — "  Le  Desert" — Other  experiments — Conclusion. 

Experiments  in  symphony  were  soon  introduced  after 

the  form  was  once  established.     Among  the  earliest  of 

interest  are  one  or  two  of  Haydn's,  although 

Haydn 
nowadays    we    should    not    consider    such 

things   very  startling.     The   "Surprise"   Symphony  is 

so  called  from  the  fact  that  in  the  slow  movement  a 

very    soft   passage    for   the    strings    is    followed   by  a 

fortissimo  for  the  full  orchestra.     "  There  all  the  women 

will  scream,"  said  Haydn.     This  was  a  device  which 

Beethoven  employed  very  frequently,  and  to  which  we 

are  now  accustomed.     Although  at  times  startling,  it 

is   not  nearly  so    distressing   as   its    converse,   a  very 

sudden  pianissivio   after    a  loud    passage,    when   it  is 

occasionally   discovered    that    the   unwary   are    in   the 

179 


Story  of  Symphony 


midst    of    a   vigorous    conversation,    or    are    possibly 
indulging-  in  a  somewhat  strident  sleep! 


THE        SURPRISE       SVMl'HONY, 


Greater   interest    attaches    to    Haydn's    "Farewell" 
Symphony,  because  of  its  biographical  nature.     Haydn 

1 80 


Haydn's  Hint 


and   his    orchestral    players    in    the    service    of    Prince 

Nicolaus  were  being  kept  on  duty  at   Esterhdz  much 

longer  than  they  liked,  being   anxious    to 

return  to  their  homes  and  families.     The      „        , 

bymphony 
composer    therefore    gave     his     Prince    a 

strong  hint ;    during  the   last  movement  of  the   sym- 


'  Farewell " 


■  FAREWELL. 


phony  the  players  stop  playing,  get  up  and  go  out, 
until  only  two  violins  are  left.  It  is  satisfactory  to 
know  that  the  Prince  took  the  hint  and  raised  his 
Court.     This  symphony,  with  its  amusing  finish,  is  a 

i8i 


Story  of  Symphony 

great  favourite  at  some  of  our  seaside  places  and  spas, 
where  the  lighter  works  of  the  great  composers  find 
a  footing  denied  to  their  more  serious  achievements. 

When  at  Esterhdz,   Haydn  played  a  very  delightful 
practical  joke  on  his  musicians;  he  brought  back  with 

him    from    a    country   fair   a   collection    of 

"Toy"  .  . 

toys,     which     included     a     "  cuckoo,"     a 
Symphonies 

"trumpet,"    a    "drum,"    a    "whistle,"    a 

"triangle,"  and  a  "quail."     For  this  combination  he 

wrote    a  symphony  in   three   movements,   adding-  also 

two  violin  parts  and  a  double  bass  to  his  score.     We 

are  told   that    the    performers    laughed    so    much   that 

they  could  not  keep  their  time.     This  jeii  d^esprit  has 

become  very  popular  at  school  and  other  performances, 

as    has   a  similar  work  by    Romberg,   which    includes 

much   the  same  instruments,  as   well   as  a  rattle  and 

a  bell  (to  say  nothingf  of  a  part  for  pianoforte  duet !). 

The  last  movement  of  Haydn's  is  extremely  humorous 

in  effect ;    it  is   played    three   times,   each   time  faster 

than  before,  and  ends  with  a  scurrying  presto. 

To  include  voices  in  the  performance  of  a  symphony 

was  an  innovation  for  which  we  have  to  thank   Beet- 

hoven.      The   composer  had  already  tried 
Beethoven  s    .    .      ,  .      ^  .      -  . 

"Ch      I"  i^antasia  for  pianoforte,  orchestra 

and  chorus,  op.  80,  before  employing-  it  in 

his   great    "Choral"    Symphony   (see    Chapter   VII.). 

182 


Vocal  Symphonies 


Since  his  day  the  experiment  has  been  tried  over  and 

over  again,  but  with  more  persistence  by  modern  than 

by  the  better-known  composers. 

In  this  connection  one  or  two  important  names  may 

be    mentioned.      Liszt  and   Berlioz  frequently    include 

choruses  in  their  symphonic  works  ;    in  his 

second    symphony    Mahler    introduces    the  „ 

,  r  1  ^   ■  •  •  Symphonic 

novelty  or  a  solo  songi  m  addition  to  parts  p 

for  a  boys'  choir  and  a  three-part  choir  of 

female  voices.     In  one  of  his  latest  symphonies,  "The 

Song  of  Earth,"  there  are  solos  for  tenor  and  contralto. 

The  natural  corollary  to  the  employment  of  the  chorus 

in  symphony  is  the  omission  of  the  orchestra  altogether 

— an    experiment  which    has    been    made  by    Granville 

Bantock;  this  composer,  in  Atalanta  in  Calydon,  writes 

for   a  choir  of  twenty  parts,  and  has  endeavoured  to 

provide  by  different  groupings  of  his  choral  forces  the 

same  kind  of  variety    of  tone  colouring  and  contrast 

which  is  obtained  from  the  different  departments  of  the 


1  With  Arnold  Schon- 
berg  we  find  the  solo 
voice  admitted  into  the 
hitherto  pure  and  classic 
realm  of  the  string 
quartett. 


Story  of  Symphony 

orchestra.      This   work,    and   a    successor   which    has 

recently   appeared,   is    certainly   revolutionary  in   idea, 

though  its  success  appears  doubtful. 

To  return  to  Beethoven.     We  have  already  noticed 

the   tendency   to   description   in   the   "Pastoral"    Sym- 
phony.     Much  more    leaning  towards  pro- 

"  Battle"      ^        ■'  ..... 

_        ^        ■  gramme    music    is    indicated    in    the    same 

bymphony 

composer's    "Battle"    Symphony    (noi    one 

of  the  "immortal  nine,"  nor  a  very  great  work).  The 
composer  himself  spoke  of  it  as  a  piece  of  tomfoolery, 
although  Niecks  classes  it  as  "important  among  battle 
pieces."  In  this  work  "Rule  Britannia"  stands  for 
the  English  forces,  and  "  Malbrough  s'en  va-t-en 
guerre "  for  the  French.  The  battle  itself  is  noisily 
indicated,  the  defeat  of  the  French  represented  by  their 
theme  being  played  in  the  minor,  and  at  the  end  comes 
general  jubilation,  with  much  "God  save  the  King." 
This  experiment  is  not  highly  to  be  commended,  even 
though  perpetrated  by  Beethoven.  It  has  led  to  awful 
pianoforte  pieces,  such  as  the  "  Battle  of  Prague,"  and 
to  vulgar  orchestral  effusions,  of  which  Tchaikovsky's 
"  1812  "  Overture  is  a  type. 

The  conventionality  as  to  the  number  of  movements 
and  their  order  in  a  symphony,  which  had  grown  into 
quite  an  accepted  condition  of  things  by  the  time  of 
Haydn,   was    disturbed,    no   doubt   quite    without  pre- 

184 


Spohr's   Experiments 

meditation,  by  Schubert,  who  left  his  most  exquisite 
orchestral    work    "unfinished."      He    probably   knew 

nothing  of  the  precedent  set  in  the  late 

c     4-  ^  r    Ti     i-i-  J  Schubert's 

pianotorte  sonatas  of  Beethoven,  and  ,,^^  ,,  ,  ,  ... 
^  .  '  "Unfinished" 

some  accident  alone  prevented  the  com- 
pletion of  his  work.  The  older  convention  still  largely 
obtains  as  to  number  of  movements  (more's  the  pity, 
for  fourth  movements  are  usually  poor),  but  their 
disposition  has  been  considerably  varied  by  later  com- 
posers, as  by  Tchaikovsky  in  leaving  the  slow  move- 
ment of  his  "  Pathetic"  Symphony  to  the  end. 

To  Spohr  may  be  attributed  the  real  "programme" 
symphony,    his    great    work,    "The    Consecration    of 

Sound,"  dating  from  18^2,  a  date  at  which  _     . 

.  .  .  Spohr 

no  previous   attempts  of  importance  in  the 

construction  of  a  symphony  with  a  definite  pro- 
gramme basis  had  been  made.^  Spohr  directed  that 
the  poem  which  the  work  illustrated  must  be  distributed 

^  Of  course,  a  mere  title  for  a  work  is  not  enough  to  justify  it  as 
a  piece  of  programme  music.  Were  this  the  case,  the  Dittersdorf 
symphonies  might  be  classed  as  programme  symphonies,  and  Beet- 
hoven's "  Pastoral "  and  other  works  might  fall  into  the  same  category. 
What  is  here  said  of  Spohr  finds  its  justification  in  the  fact  that  his 
symphonies  are  definitely  based  on  a  programme  of  events  of  which 
the  music  seeks  to  give  an  illustration,  and  this  not  merely  as  a  piece 
of  occasional  realism  but  as  a  definite  whole. 

185 


Story  of  Symphony 

to  the  audience,  or  else  recited  aloud  before  the  play- 
ing of  the  music.  This  instruction  should  apply  to  all 
programme  music,  which  loses  much  of  its  meaning 
unless  the  poetic  idea  on  which  it  is  based  is  grasped 
beforehand. 

With  his  symphony  for  two  orchestras,  "The  Earthly 
and  the  Divine  in  Human  Life,"  Spohr  made  yet  another 
innovation.  Eleven  solo  stringed  instruments  represent 
the  Divine,  while  the  ordinary  full  orchestra  stands  for 
the  Earthly ;  each  of  the  three  movements  has  its 
definite  title— "  Childhood,"  "The  Age  of  Passions," 
"Triumph  of  the  Divine." 

In  the  "Historic"  Symphony  Spohr  writes  the  first 

movement  in  the  style  of  music  of  the  period  of  Bach 

and  Handel  (dated  1720);  the  second,  period 

_        ,  of    Haydn    and    Mozart   (1780) ;    the    third, 

oympnony 

period  of  Beethoven  (1810);  and  the  fourth, 

period  of  his  own  day  (1S40).     Yet  another  symphony 

of  Spohr's,  called  "The  Seasons,"  reflects  the  moods 

of  and  transitions  between  Spring,  Summer,  Autumn, 

and  Winter. 

Although  not  strictly  a  symphony,  Fdlicien  David's 

symphonic  ode,  "  Le  Desert,"  shows  a  further  device — 

,,,  ^  ..  that  of  connecting  the  various  instrumental 
"Le  Desert"        ^  ,  "" 

and     vocal     movements     by    recited    [i.e., 

spoken)    words  ;    the    speaking   of  words  throtigh  the 

1 86 


Modern  Extravagances 

music  (melodrama)  Is  a  more  familiar  form  of  a  similar 
idea. 

In  recent  times  composers  have  tried  many  innova- 
tions. Josef  Holbrooke's  "Illuminated"  Symphony 
is    one    of  these.      The    music,    which    is 

both  orchestral  and  vocal,  is  based  upon    _ 

Experiments 
French  s  poem,  "Apollo  and  the  Sea- 
man." But  chorus  and  orchestra  are  hidden  behind 
a  large  screen,  upon  which  is  displayed  a  series  of 
pictures  which  thus  illustrate  the  ideas  conjured  up 
by  the  orchestra  or  conveyed  by  the  sung  words.  Here 
nothing  is  left  to  the  imagination,  both  eye  and  ear 
are  provided  for.  From  this  it  is  but  a  step  to  another 
innovation  with  which  we  are  threatened — the  irradia- 
tion of  our  concert  halls  by  colour  combinations  which 
are  to  reflect  the  various  instrumental  combinations 
which  are  taking  place;  the  eye  is  to  be  appealed  to 
in  exactly  the  same  manner  as  is  the  ear.  The  ingenuity 
of  man  will  continue  to  invent  things  of  this  kind, 
though  how  far  human  nature  will  tolerate  such  ex- 
periments remains  to  be  seen. 

When  all  is  said  and  done,  however,  we  still  realize 
that  it  is  the  music  to  which  we  must  always  return. 

Freakish  tricks  may  please  us   for  a  time, 

•      .•  u    ^-    A\   A  Conclusion 

our  imaginations  may  be  kindled,  our  sensa- 
tions  may   be   pandered    to,    all    sorts    of    voluptuous 

187 


Story  of  Symphony 

attacks  on  eye  and  ear  may  be  made;  but  in  the  end 
it  is  the  pure,  unsullied  beauty  of  the  music  itself  which 
appeals:  music,  without  adventitious  aid;  music  stand- 
ing- firmly  on  its  own  feet,  appealing  to  our  senses  by 
its  indefinable  charm  ;  to  our  brains  by  its  logic,  its 
perfection  of  construction,  its  clearness  of  outline. 
There  is  always  room  for  experiment,  there  is  always 
some  one  who  will  be  attracted  by  a  curiosity;  but,  for 
stuff  that  will  endure,  we  must  seek  that  truthful  and 
noble  outpouring  of  spirit  that  characterizes  the  finest 
music.  Was  it  not  Beethoven,  after  all,  who  said 
"  From  the  heart  this  music  has  sprung,  and  to  the 
heart  it  shall  penetrate"? 


1 88 


Appendices. 


A. — Chronological  List  of  the  more  important 
Composers  of  Symphonies. 

B. — Glossary  of  Terms. 

C. — Lists  of  Instruments  employed  in  Symphonies 
OF  Different  Periods. 

D. — Symphonies  with  Definite  Titles  grouped 
under  Alphabetical  List  of  Composers' 
Names. 

E. — Bibliography. 


189 


Appendix  A. 

Chronological  List  of  the  more 
important  Composers  of  Sym- 
phonies. 

1517.  Hubert  Waelrant  (Brabant),  1517-95.  A  distinguished 
contrapuntal  composer,  whose  "  Symphonia  Angelica" 
appeared  in  1585.     They  are  for  voices  only. 

15 — .  Jacopo  Peri.  He  was  the  originator  of  opera,  as  we 
understand  the  term.  In  his  Euridice  (1600)  appears  a 
little  Zinfonia  for  three  flutes. 

1567.  Claudio  Monteverdc  (Cremona),  1 567-1643.  A  powerful 
personality  in  developing  the  resources  of  the  orchestra, 
and  of  the  methods  of  writing  for  instruments.  The 
preludes  to  some  of  his  operas  had  influence  upon  the 
overture,  which  eventually  expanded  into  the  symphony. 

1585.  Hcinrich  Schutz  (Kostritz),  1585-1672.  A  famous  church 
composer  who  wrote  a  number  of  Symphonise  Sacrae 
(published  by  Breitkopf  &  Hartel). 

1587.  Samuel  Scheldt  (Halle-on-Salle),  1 587- 1 654.  A  German 
church  composer  whose  works  include  seventy  "  Sym- 
phonien  auf  Concert-Manier." 

191 


Story  of  Symphony 

1633.  Jean  Batiste  LuIIy  (Florence),  1633-87.  Became  famous 
for  his  works  in  the  direction  of  opera,  and  his  success 
in  Paris.  He  invented  a  form  of  overture  which  was 
much  in  favour  and  was  afterwards  employed  by  Handel. 

1658.  Henry  Purccll  (London),  1658-95.  This  English  com- 
poser did  remarkable  work  in  many  directions,  chiefly  in 
church  music  and  in  opera.  His  "  Laudate  Ceciliam" 
(1683)  contains  a  symphony,  a  maestoso  in  G  major  in 
three-two  time. 

1659.  Alessandro  Scarlatti  (Trapani),  1659-1725.  This  famous 
opera  composer  used  the  orchestra  boldly,  and  very 
frequently  wrote  ritornclli  in  his  arias,  etc.  His  "  Twelve 
Symphonies  for  Small  Orchestra"  appeared  in  171 5. 

1685.  Johann  Sebastian  Bach  (Eisenach),  1685-1750.  His 
mighty  list  of  works  includes  a  Symphony  in  F  ;  as  a 
rule  his  orchestral  works  were  termed  concertos  or 
suites. 

16S5.  George  Frederick  Handel  (Halle),  1685-1759.  Like  his 
great  compatriot,  Bach,  Handel's  orchestral  movements, 
though  many,  are  rarely  described  by  the  name  sym- 
phony. The  short  "  Pastoral "  Symphony  in  the  Messiah 
is,  of  course,  known  to  all. 

1686.  Niccola  Antonio  Porpora  (Naples),  1686-1766,  employed 
the  term  "  chamber  symphonies "  for  his  six  works  for 
two  violins,  'cello,  and  continuo. 

1690.  Guiseppe  Valentini  (Florence),  1690-1735.  This  Italian 
violinist  (whose  birth  is  sometimes  given  as  1680)  was 
an  early  composer  of  symphonies;  his  op.  i  is  a  set  of 
Twelve  "Sinfonie  (^3"  (z>.,  in  three  parts,  and  not  for 
full  orchestra). 

192 


Appendix  A 


1693.  Chfistoph  Forstcr  (Thuringia),  1693-1745.  His  three 
hundred  works  include  symphonies. 

1698.  Johann  Graun  (Wahrenbriick),  1698-1771.  Less  famous 
than  his  brother,  who  wrote  the  famous  "  Der  Tod  Jesu," 
but  the  composer  of  some  forty  symphonies. 

1699.  Christoph  Schroter  (Hohenstein),  1699-1782.  A  famous 
Saxon  organist,  one  of  the  claimants  to  the  invention  of 
the  pianoforte.     He  wrote  sonatas  and  symphonies. 

1705.  Giovanni  B.  Sammartini  (Milan),  1705-75.  His  first 
symphony  was  produced  in  1734,  and  twenty-three  others 
followed;  he  has  been  called  "the  precursor  of  Haydn 
in  symphonie  and  chamber  music." 

1706.  Baldassare  Galuppi  (Burano),  1706-85.  An  instru- 
mental composer  whose  works,  according  to  Burney,  had 
more  influence  on  English  music  than  those  of  any  other 
composer. 

171 1.  Charles  H,  Blainville  (Tours),  1711-69.  Wrote  a 
symphony  in  the  Phrygian  (or  Me)  mode,  which  received 
the  commendation  of  Rousseau. 

1711.  Ignaz  Holzbaucr  (Vienna),  1711-83.  His  works,  which 
include  no  fewer  than  one  hundred  and  ninety-six  sym- 
phonies, were  warmly  praised  by  Mozart. 

1714.  Carl  Philipp  Emmanuel  Bach  (Weimar),  1714-88.  The 
third  son  of  the  great  J.  S.  Bach.  His  symphonies  are 
quite  important  as  bearing  upon  the  work  of  Haydn  and 
Mozart. 

1714.  Christopher  Willibald  Gluck  (Weidenwang),  1714-87. 
His  influence  upon  the  operatic  overture  was  great;  he 
strove  to  give,  in  the  music  of  the  overture,  a  fore- 
shadowing of  the  emotional  purport  of  the  opera. 

193  13 


Story  of  Symphony 

171 5.  G.  C.  Wagcnscil  (Vienna),  171 5-77-  A  favourite  com- 
poser of  his  day  for  the  clavier.  His  works  include 
divertimenti  and  symphonies. 

17 17.  J.  K.  Stamitz  (Deutsch-Brod),  17 17-61.  An  early  and 
important  composer  of  symphonies,  favourably  men- 
tioned by  Burney.  A  thematic  catalogue  of  his  forty- 
five  symphonies  exists. 

1719.  Leopold  Mozart  (Augsburg),  1719-87.  The  father  of  the 
great  composer,  and  himself  the  writer  of  important 
musical  works,  including  symphonies. 

1724.  C.  G.  Toschi  (Munich),  1724-88.  A  prolific  composer 
whose  "symphonies  were  favourites  in  Paris  before 
Haydn's  advent."    His  dates  are  also  given  as  1745- 1800. 

1724.  Pierre  van  Malder  (Brussels),  1724-68.  Wrote  eighteen 
symphonies. 

1725.  Karl  Frederick  Abel  (Coethen),  1725-87.  One  of  those 
symphony  composers  who  influenced  Haydn  in  the 
matter  of  "form." 

1727.  Joh.  Wilhclm  Hertcl  (Eisenach),  1727-89.  Concert- 
meister  to  the  Duke  of  Mecklenburg-Schwerin.  He 
wrote  oratorios,  sonatas,  and  twelve  symphonies. 

1730.  Franz  Beck  (Mannheim;,  1730-1809.  A  violinist  who 
wrote  some  symphonies. 

1730.  Ignaz  von  Bcecke,  1730-1803.  A  friend  of  Cluck  and 
Mozart,  who  wrote  an  oratorio,  some  operas  and 
symphonies. 

1731.  Christian  Cannabich  (Mannheim),  1731-98.  A  popular 
composer  of  ballets,  operas,  and  symphonies.  Mozart 
praised  him  highly  as  a  conductor. 

194 


Appendix   A 


17 — ,  FrJedrich  Schwindl,  17 — 1786.  His  symphonies  were 
very  popular  in  London  and  on  the  Continent  about 
1770. 

1732.  J.  C.  Friedrich  Bach  (Leipsic),  1732-95.  Ninth  son  of 
J.  S.  Bach,  whose  cantatas  and  symphonies  enjoyed 
some  measure  of  success. 

1732.  Joseph  Haydn  (Rohrau),  1732-1809,  "The  Father  of  the 
Symphony."  His  many  (one  hundred  and  fifty-seven) 
symphonies  are  not  of  equal  importance,  but  in  the  last 
ones  he  worked  with  a  very  sure  hand  and  his  efforts 
resulted  in  the  firm  establishment  of  the  symphony  as 
an  art  form.  The  total  number  of  his  symphonies  is 
variously  given,  some  of  them  not  being  distinguishable 
from  overtures. 

1734.  F.  J.  Gossec  (Vergnies),  1734- 1829.  Wrote  twenty-seven 
symphonies  (mostly  for  Paris) ;  the  first  of  these,  pub- 
lished in  1754,  antedated  the  earliest  of  Haydn's  by  five 
years. 

1737.  J.  Michael  Haydn  (Rohrau),  1737-1806.  Younger 
brother  of  Joseph  Haydn  ;  he  wrote  much  music,  in- 
cluding about  thirty  symphonies. 

1737-  Joseph  Mysliweczck  (near  Prague),  1737-81.  Wrote 
symphonies,  operas,  and  oratorios.  Mozart  speaks  well 
of  his  sonatas. 

1738.  Franz  Weiss  (Miihlhausen),  1738-95.  This  composer  of 
six  symphonies  was  a  member  of  the  private  band  of 
George  HI. 

1739.  K.  D.  von  Dittersdoff  (Vienna),  1739-99.  One  of  the 
earliest  to  compose  symphonies  upon  a  programme  basis 
or  with  a  definite  title.     (See  Appendix  D.) 


Story  of  Symphony 

1739.  J.  B.  Wanhal  (Neu-Nechanitz),  1739-1813.  This 
Bohemian  wrote  symphonies  which  were  popular  in 
their  day.  No  less  than  one  hundred  are  given  in  the 
Dictionary  of  Bohemian  Musicians.  Burney  speaks  of 
them  as  "spirited,  natural,  and  unaffected." 

1741.  J.  G.  Naumann  (Blasewitz),  1741-1801.  Wrote  many 
operas  and  symphonies. 

1741.  Giovanni  Paisiello  (Taranto),  1741-1816.  A  famous 
composer  of  opera,  who  devoted  most  of  his  life  to  that 
form  of  the  art.  He  also  found  time  to  write  twelve 
symphonies. 

1741.  W.  PichcII  (Vienna),  1741-1805.  Left  a  mass  of 
music,  including  eighty-eight  symphonies. 

1741.  A.  E.  M.  Gretry  (Liege),  1741-1813.  His  harmonies 
used  to  be  spoken  of  disparagingly,  and  the  remark  was 
made  "  that  one  could  draw  a  coach  and  four  between 
the  bass  and  the  first  fiddle."  He  was  a  very  capable 
opera  composer,  however,  and  gave  to  the  world  also 
some  six  symphonies. 

1743.  Luigi  Bocchcrini  (Lucca),  1743-1805.  A  most  prolific 
composer  of  chamber  music.  He  also  wrote  twenty 
symphonies. 

1745.  J.  P.  Salomon  (Bonn),  1745-1815.  Famous  for  his  con- 
nection with  Haydn,  who  wrote  the  twelve  symphonies 
called  the  "  Salomon  "  set  for  the  London  concerts  of  the 
Bonn  violinist. 

1746.  Karl  Stamltz  (Mannheim),  1746-1801.  Asonof  Johann 
Stamitz;  his  works  include  nine  symphonies. 

1746.  Giovanni  G.  Cambini  (Leghorn),  1746- 182 5.  A  prolific 
composer  of  symphonies  which,  however,  were  of  little 
value  or  importance. 

196 


Appendix  A 


1749.  Domcnico  Cimarosa  (Aversa),  1749- 1 801.  ^"^  of  the 
most  noted  of  early  composers  of  opera.  His  works 
include  seven  symphonies. 

1749.  Abbe  Voglcr,  The  (Wiirzburg),  1749-1814.  A  dis- 
tinguished organist  and  theorist.  His  Symphony  in  C, 
one  of  his  best  works,  was  performed  by  Mendelssohn 
on  two  occasions  at  the  Gewandhaus  at  Leipsic. 

1750.  Franz  Anton  Roessler  (or  Rosetti),  1750-92,  Wrote  a 
great  imitative  symphony  entitled  "Calypso  et  Tele- 
maque,"  and  another  called  "  La  Chute  de  Phaeton." 
One  of  the  many  composers,  about  this  period,  of 
"hunting"  symphonies. 

1750.  Antonio  Salieri  (Legnago),  1750-1825,  was  a  well-known 
composer  of  opera  after  the  manner  of  Gluck.  He  also 
experimented  in  symphony. 

1750.  Abbe  Sterkcl  (Wiirzburg),  1750-1817.     A  very  productive 

composer,  whose  ten  symphonies  were  popular  in  their 
day. 

1751.  Karl  J.  Birnbach  (Silesia),  1751-1805.  A  prolific  writer; 
ten  symphonies  are  accredited  to  him. 

1752.  Muzio  Clementi  (Rome),  1752-1832.  Celebrated  for  his 
books  of  studies  for  the  pianoforte ;  he  composed  sym- 
phonies and  overtures. 

1752.  Justin  Heinrich  Knecht  (Biberach),  1752-1817.  Wrote 
a  number  of  symphonies  with  titles  ;  the  most  interesting 
of  these,  "Portrait  musical  de  la  Nature,"  has  a  pro- 
gramme corresponding  almost  entirely  with  that  of 
Beethoven's  "Pastoral"  Symphony. 

1752.  L.  A.  Kozcluch  (Wellwarn),  1752-1814.  Succeeded 
Mozart  as  Court  composer.  He  wrote  a  great  number 
of  works,  including  thirty  symphonies. 

197 


Story  of  Symphony 

1752.  Johann,F.  Rcichardt  (Konigsberg),  1752-1814.  Was 
Capellmeister  to  Frederick  the  Great,  and  was  one  of 
the  earliest  to  employ  analytical  programmes.  He  wrote 
seven  symphonies,  besides  numerous  operas  and  other 
works. 

1753.  Gaetano  Brunctti  (Pisa),  1753-1808.  Was  a  Court 
musician  to  Charles  IV.  of  Spain;  he  wrote  thirty-seven 
symphonies. 

1754-  Pater  Sixtus  Bachmann  (Bavaria),  1754-1818.  An 
organist  who  had,  at  the  age  of  ten,  a  contest  with 
Mozart;  he  afterwards  became  a  monk.  Amongst  his 
works  are  some  symphonies. 

1754-  Peter  von  Winter  (Mannheim),  1754-1825.  A  well- 
known  composer  of  operas,  many  of  them  highly  extolled 
in  their  day.  Like  his  forty  operas,  his  nine  symphonies 
are  now  forgotten. 

1756.  Wolfgang  Amadeus  Mozart  (Salzburg),  1756-91.  One 
of  the  most  supreme  masters  of  symphony.  His  last 
three  examples  remain  models  of  purity  of  style  and 
elegance  of  symmetry. 

1756.  August  F.  K.  KoIImann  (Hanover),  1756-1829.  The 
composer  of  a  programme  symphony,  "The  Shipwreck." 

1756.  Paul  Wranitzky  (Moravia),  1756-1808.  One  of  Haydn's 
violinists  at  Esterhdz;  composer  of  chamber  music  and 
of  twenty-seven  symphonies. 

1757-  Ignaz  Joseph  PIcyel  (Rupertsthal),  1757-1831.  As  a 
boy  he  studied  with  Haydn,  and  later  was  the  founder 
of  the  Pleyel  pianoforte  factory.  His  numerous  com- 
positions include  twenty-nine  symphonies. 

198 


Appendix  A 


1760.  Maria  Luigi  C.  Z.  S.  Cherubini  (Florence),  1 760-1842. 
Best  known  now  by  his  book  on  counterpoint,  and 
sometimes  remembered  by  his  operas.  He  wrote  a  few 
symphonies. 

1760.  Franz  Krommcr  (Kamenitz),  1760-1831.  A  violinist 
conductor  and  composer  of  symphonies,  quartets,  etc. 

1760.  F.  C.  Ncubaucr  (Horzin),  1760-95.  Wrote  twelve 
symphonies. 

1763.  Adalbert  Gyrowetz  (Bohemia),  1763- 1850.  A  friend  of 
Mozart;  he  wrote  thirty  operas,  forty  ballets,  and  sixty 
symphonies. 

1763.  Gottlob  Bachmann  (Saxony),  1763- 1840.  Composer  of 
opera  and  symphony. 

1763.  Franz  Danzi  (Mannheim),  1763-1826.  A  singing  teacher 
who  penned  symphonies. 

1765.  J.  B.  Breval,  1 765- 1 82 5.  A  French  'cellist  who  wrote 
eight  symphonies. 

1766.  Francisco  Basili,  1766- 1850.  An  Italian  composer  of 
opera,  oratorio,  and  symphony. 

1766.  Anton  Eberl  (Vienna),  1766- 1807.  A  friend  of  Gluck 
and  of  Mozart ;  is  remembered  by  his  operas  and  sym- 
phonies. On  one  occasion  his  Symphony  in  E  flat 
appears  to  have  been  placed  in  the  same  programme  as 
Beethoven's  "  Eroica,"  and  was  criticized  more  favour- 
ably than  that  masterpiece  ! 

1767,  Andreas  Romberg  (Vienna),  1767-1821.  A  well-known 
composer,  long  remembered  by  his  setting  of  Schiller's 
"Lay  of  the  Bell."  His  six  symphonies  are  forgotten, 
but  the  popularity  of  his  "Toy"  Symphony  quite  equals 
that  of  Haydn's. 

199 


Story  of  Symphony 

1769.  Joseph  Xavcr  Eisner  (Grottkau),  1769-1854.  One  of 
the  teachers  of  Chopin,  and  a  popular  composer  of 
PoHsh  operas,  besides  many  symphonies  and  other 
works. 

1770.  Ludwig  von  Beethoven  (Bonn),  1770- 1827. 

1770.  Anton  Joseph  Reicha  (Prague),  1 770- 1836.  A  famous 
Bohemian  theorist  and  friend  of  Beethoven ;  his 
symphonies  exhibit  interesting  experiments  in  their 
harmonies. 

1772.  Christian  G.  A,  Bergt  (Saxony),  1772-1837.  Composer  of 
popular  Lieder  as  well  as  symphonies  and  sacred  music. 

1774.  Johann  W.  Tomaschck  (Bohemia),  1774-1850.  A  com- 
poser whose  works  influenced  Schumann;  he  wrote  one 
symphony. 

1776.  Ignaz  Seyfried  (Vienna),  1776-1841.  An  industrious 
pupil  of  Mozart's,  who  wrote  numerous  oratorios,  operas, 
and  symphonies. 

1778.  Franz  Weiss  (Vienna),  1778- 1830,  who  wrote  symphonies 
and  other  works,  was  the  viola  player  in  the  famous 
"Schuppanzigh"  quartett  which  first  performed  Beet- 
hoven's strmg  quartetts  under  that  master's  direction. 

1779.  Stcfano  Pavcsi  (Casaletto  Vaprio),  1 779-1850.  Italian 
composer  of  opera  and  symphony. 

1782.  Joseph  von  Blumenthal  (Brussels),  1782-1850.  A 
violinist,  and  pupil  of  the  Abbe  Vogler  ;  wrote  some 
symphonic  works. 

1784.  Francois  J.  Fetis  (Mons),  1784-1871.  A  famous  theoret- 
ician, was  also  a  prolific  composer.  His  works  include 
symphonies  and  overtures. 

200 


Appendix  A 


1784.  George  Onslow  (Clermont-Ferrand),  1784-1852.  Devoted 
most  of  his  life  to  chamber  music ;  he  wrote  four  sym- 
phonies, one  of  them  being  penned  for  the  Philharmonic 
Society  of  London  upon  his  election  as  a  member. 

1784.  Ferdinand  Ries  (Bonn),  1784-1838.  The  biographer  of 
Beethoven;  wrote  six  symphonies. 

1784.  Louis  Spohr  (Brunswick),  1784-1859.  One  of  the  most 
interesting  of  all  who  wrote  symphonies,  but  one  whom 
the  world  very  largely  forgets  to-day. 

1786.  J.  C.  F.  Schneider  (Saxony),  1786-1853.  A  prolific 
composer ;  he  is  accredited  with  twenty-three  sym- 
phonies. 

1786.  Carl  Maria  von  Weber  (Eutin),  1786-1826.  A  genius 
as  regards  opera,  but  his  early  symphonies  are  of  little 
account. 

1788.  Johann  F.  Berwald  (Stockholm),  1 788-1 861.  Was  a 
precocious  violinist,  who  wrote  a  symphony  at  the  age 
of  nine ! 

1789.  Ramon  Carnicer  (Catalonia),  1789-1855.  A  Spanish 
composer  of  national  opera  and  of  symphony. 

1789.  Friedrich  Ernst  Fcsca  (Magdeburg),  1789-1826.  A 
clever  composer,  whose  symphonies,  however,  fail  by 
reason  of  their  poor  orchestration. 

1794.  Anselm  Hiittenbrenner  (Graz),  1794-1868.  Composer 
of  operas,  symphonies,  and  songs.  Beethoven  died  in 
his  arms. 

1795.  J.  B.  Birnbach  (Breslau),  1795-1879.  Is  famous  for 
his  gifted  pupil  Nicolai;  he  wrote  two  symphonies  and 
much  other  music. 

201 


Story  of  Symphony 

1796.  Franz  Bcrwald  (Stockholm),  1796-1868.  The  director 
of  the  Stockhohii  Conservatoire;  wrote  symphonies  and 
an  opera. 

1797.  Franz  Schubert  (Vienna),  1797-1828.  His  "  Unfinished" 
Symphony  is  perhaps  more  frequently  played  than  any 
other  in  concerts  of  repute.  Beethoven's  "  C  minor " 
runs  it  very  close  in  popularity. 

1798.  K.  G.  Rcissigcr  (Belzig),  1798-1859.  Wrote  easily  and 
much,  but  his  music,  although  very  popular  for  a  time, 
had  no  enduring  merit ;  his  mass  of  compositions  includes 
one  symphony. 

1801.  John  L.  Ellcrton  (Chester),  1801-73.  An  early  com- 
poser of  English  nationality  to  write  symphonies  of 
any  importance;  his  five  examples  include  a  "Forest" 
symphony. 

1801.  Joseph  Jansscns  (Antwerp),  1801-35.  One  of  the  earliest 
Belgian  composers  to  cultivate  programme  music,  as  he 
did  in  his  symphony  "  Le  Lever  du  Soleil." 

1801.  Johann  W.  Kalliwoda  (Prague),  1801-66.  His  many 
compositions  include  six  symphonies. 

1802.  John  Barnctt  (Bedford),  1802-90.  Well  known  as  the 
composer  of  the  opera,  "  The  Mountain  Sylph  " ;  wrote  a 
symphony,  which  has  remained  in  manuscript. 

1802.  W.  B.  Molique  (Nuremberg),  1802-69.  A  good  though 
not  outstanding  all-round  composer ;  one  symphony 
stands  to  his  name. 

1803.  Alfred  J.  Becher  (Manchester),  1803-40,  who  wrote  one 
symphony,  was  shot  as  a  revolutionary. 

202 


Appendix  A 


1803.  Hector  L.  Berlioz  (Grenoble),  1803-69,  the  "father  of 
modern  orchestration,"  is  important  as  a  programme 
symphonist. 

1803.  Franz  Lachner  (Munich),  1803-90.  At  one  time  held  a 
very  honoured  position  amongst  German  musicians ;  one 
of  his  symphonies  (of  which  there  are  eight)  received 
high  praise  from  Schumann. 

1804.  Sir  Julius  Benedict  (Stuttgart),  1804-85.  A  prolific 
composer  of  opera ;  wrote  also  concertos  and  symphonies. 
His  long  residence  in  this  country  caused  him  to  rank  as 
an  English  composer. 

1804.  Heinrich  L.  E.  Dorn  (Konigsberg),  1804-92.  One  of 
the  many  opponents  of  Wagner;  wrote  a  symphony. 

1806.  J.  F.  KittI  (Bohemia),  1806-68.  Was  a  director  of  the 
Conservatoire  of  Prague.  He  wrote  much  music,  includ- 
ing some  symphonies. 

1807.  Jan  van  Boom  (Utrecht),  1807-72.  A  distinguished 
pianist  who  wrote  mostly  for  his  own  instrument,  but 
who  also  penned  operas  and  symphonies. 

1808.  Sir  Michael  Costa  (Naples),  1808-84.  Wrote  three 
symphonies ;  his  work,  which  was  mainly  done  in 
England,  was  chiefly  as  a  conductor,  in  which  role  he 
attained  to  considerable  fame. 

1809.  Felix  Mendelssohn  Bartholdy  (Hamburg),  1809-47. 
His  "Italian"  and  "Scotch"  symphonies  are  very 
frequently  heard. 

1809.  Adolf  F.  Hesse  (Breslau),  1809-63.  For  many  years 
director  of  the  Breslau  Symphony  Concerts,  for  which 
he  wrote  some  works. 

203 


Story  of  Symphony 

iSio.  Norbert  BurgmuIIer  (Dusseldorf),  1810-36.  A  pupil  of 
Spohr,  who  died  at  an  early  age;  his  two  symphonies 
and  other  woiks  showed  great  promise. 

1 8 10.  Felicicn  David  (Vaucluse),  1810-76.  Is  famous  in  the 
history  of  symphony  by  virtue  of  his  very  interesting 
symphonic  ode,  "  Le  Desert,"  which  is,  however,  more 
of  a  cantata  than  a  symphony  proper.  He  also  wrote 
fine  operas. 

1810.  Ferdinand  David  (Hamburg),  1810-73.  A-  famous  violin- 
ist, whose  advice  Mendelssohn  took  in  the  writing  of  his 
well-known  violin  concerto.  David  composed  sym- 
phonies, but  is  best  remembered  by  his  much  used 
"Violin  School." 

1810.  Robert  Schumann  (Zwickau),  1810-56.  His  symphonies 
contain  glorious  thoughts,  but  their  orchestration  is  not 
always  very  effective. 

181 1.  Konstantin  J.  Becker  (Freiburg),  181 1-59.  Was  a 
Saxon  composer  of  symphony. 

iSii.  Ferdinand  Hiller  (Frankfort),  181 1-85.  Wrote  three 
symphonies,  one  being  entitled  "  Spring  must  come  at 
last." 

iSli.  Franz  Liszt  (Raiding),  181 1-86.  The  master  pianist; 
composed  some  interesting  symphonies;  he  is  accredited 
with  the  invention  of  the  "symphonic  poem,"  and  left 
many  fine  examples  of  such  works,  which  still  find  a 
hearing  in  our  concert-rooms. 

1811,  Vincenz  Lachner  (Rain),  1811-93.  Though  less  famous 
as  a  symphony  composer  than  his  brother  Ignaz,  yet  did 
good  work.  He  conducted  a  season  of  German  opera  in 
London  in  1842. 

204 


Appendix  A 


1811.  K.  G.  W.  Taubert  (Berlin),  1811  91.  Wrote  operas, 
symphonies,  and  chamber  music. 

1812.  Jos.  K.  Boers,  1812-96.  Is  one  of  the  few  Dutch  com- 
posers of  symphony. 

1812.  Hermann  Hirschbach  (Berhn),  1812-88.  A  notable  on 
as  well  as  of  music  ;  Schumann  expected  much  from 
him.  He  wrote  fourteen  symphonies,  and  in  a  preface 
to  two  of  them  (op.  46  and  47)  he  writes  interestingly  as 
to  the  motives  which  induced  and  which  influenced  his 
compositions. 

1812.  J.  Reitz  (Berlin),  1812-77.  A  great  editor  of  Mozart's 
and  Beethoven's  symphonies ;  himself  wrote  three 
examples. 

1812.  C.  G.  P.  Gradcner  (Rostock),  1812-83.  Spent  most  of 
his  life  in  Hamburg.     He  wrote  two  symphonies. 

1813.  Sir  G.  A.  Macfarren  (London),  1813-87.  A  man  who 
led  a  busy  life  and  composed  much,  more  especially  opera 
and  cantata.  His  symphonies  are  good  examples  of 
their  kind. 

1813.  Richard  Wagner  (Leipsic),  1813-83.  This  great  master 
of  music  drama  wrote  a  symphony  in  C  major  at  the  age 
of  nineteen,  confessedly  on  the  model  of  Mozart  and 
Beethoven  ;  it  was  played  in  1833  at  the  Gewandhaus, 
and  then  the  score  was  "forced"  upon  Mendelssohn, 
who  apparently  mislaid  it.  As  long  after  that  date  as 
1872  a  set  of  parts  was  discovered,  and  in  1882  Wagner 
himself  conducted  a  performance  at  Venice.  The  intense 
interest  taken  in  Wagner's  music  still  accounts  for  an 
occasional  performance  of  the  symphony,  which,  how- 
ever, has  little  merit  of  its  own,  and  was  described  by  its 
composer  as  " an  old-fashioned  ouvrage  de jeunesse" 

205 


Story  of  Symphony 

1815.  F.  R.  Volkmann  (Lommatzsch),  1815-83.  A  composer 
of  whose  works  some  authorities  speak  highly ;  he  wrote 
some  seriously-conceived  symphonies. 

1815.  Henry  Hugo  Picrson  (Oxford),  1815-73,  who  wrote  one 
symphony,  is  remembered  by  his  setting  of  the  second 
part  of  Goethe's  Faust. 

1816.  Sir  William  Stcrndale  Bennett  (Sheffield),  1816-75. 
Was  one  of  the  foremost  English  composers  of  the 
nineteenth  century.  His  one  symphony  stands  in 
G  minor. 

18 1 7.  Anton  Berlyn  (Amsterdam),  1817-70.  A  Dutch  com- 
poser of  opera  and  symphony, 

1817.  E.  M.  E.  Deldevez  (Paris),  1817-97.  A  conductor  of 
the  Grand  Opera.     Wrote  three  symphonies. 

1817.  Niels  W.  Gade  (Copenhagen),  1817-90.  The  first  of 
the  Scandinavian  musicians  to  rivet  European  attention. 
Wrote  eight  symphonies  and  some  good  orchestral 
overtures. 

1 817.  Lefdbure-Wcly  (Paris),  1817-69.  Was  a  very  famous 
organist,  and  achieved  eminence  for  his  improvisations. 
He  wrote  symphonies  and  many  other  works. 

1817.  Fritz  Spindler  (Lobenstein),  1817-1906.  A  prolific 
writer  for  the  pianoforte,  who  also  wrote  symphonies. 

1818.  Antonio  Bazzini  (Brescia),  1818-97,  some  of  whose 
violin  compositions  are  much  played  in  the  present  day. 
Wrote  a  symphonic  poem,  "  Francesca  da  Rimini." 

1818.  Jean  Baptiste  C.  Dancia  (Bagn^res-de-Begoire).  Wrote 
four  symphonies.  Some  of  his  violin  pieces  are  much 
esteemed. 

206 


Appendix  A 


1818.  Hcinrich  Esscr  (Mannheim),  1818-72.  Some  of  his 
symphonies  (ops.  44,  79)  are  published  and  gain  an 
occasional  hearing. 

1819.  L.  T.  Gouvy  (Saarbruck),  1819-98.  Composed  an 
enormous  amount  of  music,  including  seven  symphonies. 

182 1.  August  Conradi  (Berlin),  1821-73.  Wrote  operas, 
chamber  music,  and  five  symphonies. 

1822.  Cesar  August  Francfc  (Liege),  1822-90.  One  of  the 
most  interesting  modern  composers  of  absolute  music; 
his  Symphony  in  D  minor  is  a  fine  work,  and  his  sym- 
phonic poems  are  also  of  a  fascinating  description. 

1822.  J.  Joachim  Raff  (Lachen),  1822-82.  A  composer  whose 
star  has,  to  some  extent,  set  ;  for  many  years  his  fine 
descriptive  "Leonore"  symphony  was  constantly  played. 

1823.  Selmar  Bagge  (Coburg),  1823-96.  Composer  and  critic; 
writer  of  one  symphony. 

1S23.  K.  J.  Bischoff  (Ansbach),  1823-93.  Composed  three 
symphonies. 

1823.  Giovanni  Bottcsini  (Lombardy),  1823-89.  Was  a  very 
famous  double-bass  player.  Wrote  operas,  symphonies, 
overtures,  etc. 

1823.  L.  E.  E.  Rcycr  (Marseilles),  1823-1909.  Wrote  a  fine 
symphonic  ode  in  addition  to  an  opera,  "  Sigurd." 

1824.  Adolphc  Samuel  (Liege),  1824-98.  A  winner  of  the 
Grand  Prix  de  Rotne.     Composed  seven  symphonies. 

1824.  Jos.  Batta  (Maestricht).  A  Belgian  'cellist  and  com- 
poser of  symphonies  and  overtures. 

1824.  J.  N.  Cocncn  (The  Hague),  1824-99.  Composed  two 
symphonies. 

207 


Story  of  Sym  hony 

1824.  Anton  Bruckner  (Upper  Austria),  1824-96.  One  of  the 
leaders  of  modern  German  music  ;  at  one  time  he 
seriously  rivalled  Brahms,  and  his  nine  symphonies 
contain  some  fine  music. 

1824.  G.  E.  Goltcrmann  (Hanover),  1824-98.  A  fine  'cellist. 
A  symphony  by  him  was  played  in  Leipsic  in  185 1. 

1824.  Carl  H.  C.  Rcinecke  (Altona),  1824-1910.  A  composer 
of  very  great  industry  and  colossal  output.  His  many 
works  include  three  symphonies. 

1824.  Friedrich  Smetana  (Leitomischl),  1824-84.  The  "  Father 
of  Bohemian  Opera"  and  the  teacher  of  Dvofdk.  Is 
remembered  in  our  concert-rooms  by  his  very  fine  cycle 
of  symphonic  poems. 

1825.  G.  F.  Bristow  (Brooklyn),  1825-98.  An  American 
violinist  and  composer  of  opera,  symphony,  etc. 

1825.    Adolf  von  Doss  (Bavaria),  1825-86.     Wa  it  priest 

who  wrote  three  symphonies. 

1825.  L.  Ehlert  (Konigsberg),  1825-84.  A  pupil  of  Schumann 
and  Mendelssohn.  His  "Spring"  symphony  is  one  of 
his  best  compositions. 

1826.  Jean  Jos.  Bott  (Cassel),  1826-95.  ^  violinist  composer 
of  symphony. 

1826.  Emil  Buchner  (Naumburg).  Capellmeister  of  Meiningen 
and  composer  of  symphonies. 

1826.  Franz  Coencn  (Rotterdam),  1826-1904.  Composed  one 
symphony. 

1827.  E.  Silas  (Amsterdam)  had  a  Symphony  in  A  performed 
in  London  on  two  or  three  occasions,  1863-64. 

208 


Appendix  A 


1827.  Adolf  Fischer  (Pomerania),  1827-93.  Wrote  several 
symphonies. 

1828.  Woldemar  BargicI  (Berlin),  1828-97.  A  Symphony  in 
C  is  included  amongst  his  works. 

1828.  Pietro  Bianchini  (Venice)  is  one  of  the  small  number 
of  Italian  writers  of  symphony. 

1829.  A.  H.  Dietrich  (Meissen)  was  a  pupil  of  Schumann  ; 
he  wrote  a  Symphony  in  D. 

1829.  Louis  M.  Gottschalk  (New  Orleans),  1829-69.  Was  at 
one  time  a  very  well-known  pianist.  He  wrote  an 
entitled  symphony. 

1829.  Anton  G.  Rubinstein  (Wechwotynecz),  1829-94,  who 
achieved  eminence  in  so  many  musical  directions,  wrote 
many  symphonies,  of  which  "The  Ocean"  is  the  best 
known. 

1830.  Hans  von  Bronsart  (Berlin).  His  symphonies  include 
two,  entitled  "  In  the  Alps,"  "Powers  of  Fate." 

1830.  Hans  von  Bulow  (Dresden),  1830-94,  critic,  pianist, 
conductor,  composed  some  symphonic  works. 

1830.  Edward  Lassen  (Copenhagen),  1830-94.  Best  known  by 
his  charming  songs  and  his  Faust  music,  wrote  two 
symphonies. 

1831.  Henry  C.  Banister  (London),  1831-97.  A  well-known 
writer  of  books  on  music ;  he  also  composed  sym- 
phonies. 

1831.  Salomon  Jadassohn  (Breslau),  1831-1902.  Another 
theoretician,  wrote  over  one  hundred  and  thirty  com- 
positions, including  four  symphonies. 

209  14 


Story  of  Symphony 

1832.  J.  J.  Abcrt  (Bohemia),  who  wrote  a  "  Spring  "  Symphony, 
was  much  praised  by  Liszt ;  he  was  a  successful  composer 
of  opera. 

1832,  Leopold  Damrosch  (Posen),  1832-85.  The  friend  of  Liszt 
and  Wagner,  wrote  a  symphony. 

1832.  Karl  Goldmark  (Keszthely),  1832-1915,  wrote  a  highly 
successful  "Rustic  Wedding"  Symphony.  The  year 
1830  is  also  given  as  being  that  of  his  birth. 

1833.  Otto  Bach  (Vienna),  1833-93.  Kapellmeister  of  Salz- 
burg, and  composer  of  operas  and  five  symphonies. 

1833.  Franz  Bendel  (Bohemia),  1833-74.  A  pupil  of  Liszt, 
and  composer  of  attractive  pianoforte  pieces,  also  wrote 
some  symphonies. 

1833.  Johannes  Brahms  (Hamburg),  1833-97.  The  finest  of 
modern  German  symphonists. 

1834.  A.  E.  A.  Becker  (Quedlinburg),  1834-99.  His  Sym- 
phony in  G  minor  is  amongst  his  finest  works. 

1834.  Peter  Benoit  (Harlebeck),  1834-91.  One  of  the  most 
recognized  Flemish  composers.  Like  Beethoven  and 
others,  he  wrote  a  "  Choral  "  Symphony. 

1834.  Alex.  P.  Borodin  (Petrograd),  1834-77.  Was  a  great 
chemist  as  well  as  a  musician.  He  is  famous  for  his 
operas,  and  his  larger  works  include  three  symphonies 
and  a  symphonic  poem. 

1835.  Julius  von  Beliczay  (Hungary),  1835-93.  A  pupil  of 
Joachim,  whose  orchestral  works  include  a  symphony. 

1835.  Jules  E.  D.  Cohen  (Marseilles),  1835-1901.  A  prolific 
writer  of  song,  also  penned  some  symphonic  music. 

210 


Appendix  A 


1835.  Felix  A.  B.  Draesccke  (Coburg).  A  disciple  of  Liszt, 
was  a  revolutionary  in  principle,  but  has  more  recently 
returned  to  orthodoxy,  and  has  written  three  sym- 
phonies. 

1835.  C.  Camille  Saint-Saens  (Paris).  This  versatile  and 
gifted  composer  is  often  represented  in  concert  pro- 
grammes by  his  highly  interesting  symphonic  poems  ; 
his  symphonies  have  commanded  less  attention. 

1835.  Ebcnczer  Prout  (Oundle),  1835- 1909.  Professor  Prout 
was  a  voluminous  composer.  His  four  symphonies  and 
many  other  works  are  now  rarely  played,  but  his 
theoretical  writings  are  of  great  value. 

1836.  Mily  Alex.  Balakircff  (Nishni-Novgorod),  1836-1910. 
One  of  the  most  interesting  of  Russian  composers,  and 
one  whose  influence  has  been  considerable.  He  wrote  a 
few  symphonic  poems  and  one  symphony. 

1836.  Robert  Emmerich  (Hanau),  1836-1891.  A  German 
conductor,  composed  two  symphonies. 

1837.  John  Francis  Harnett  (London),  1837.  Amongst  his 
numerous  works  is  a  Symphony  in  A  mmor, 

1837.  Alfred  Holmes  (London),  1837-76.  A  famous  violinist, 
who  produced  four  titled  symphonies,  which  were 
played  in  Petrograd,  Paris,  and  London. 

1838.  H.  Schutz-Beuthcn  (Upper  Silesia).  A  disciple  of  Liszt, 
produced  eight  symphonies,  several  of  which  have  titles. 

1838.  Max  Bruch  (Cologne).  A  well-known  German  com- 
poser. His  first  symphony  was  produced  at  the  age  of 
fourteen,  and  several  have  since  appeared. 

211 


Story  of  Symphony 

1838.  Samuel  David  (Paris),  1838-95.  Composer  of  four  sym- 
phonies and  a  symphonic  ode,  "  Le  Triomphe  de  la  Paix." 

1839.  Victorin  dc  Joncierc  (Paris),  1839-1903.  A  critic,  and 
follower  of  Wagner,  wrote  two  or  three  symphonies, 
including  a  choral  symphony. 

1839.  Fricdrich  Gernsheim  (Worms).  A  Jewish  composer; 
his  symphonies  in  G  minor  and  B  flat  are  described  as 
remarkable, 

1839.  Edward  Napravnik  (Koniggratz).  A  Czech  composer, 
who  wrote  a  symphony,  "The  Demon." 

1839.  J.  Knowles  Paine  (Portland,  U.S.A.),  1839-1906.  Was 
one  of  the  foremost  composers  of  serious  music  in 
America ;  he  wrote  two  symphonies  and  some  sym- 
phonic poems. 

1839.  Joseph  Rhcinberger  (Vaduz),  1 839- 1901.  Devoted  him- 
self to  composition  of  many  kinds,  especially  enriching 
the  organ  with  a  fine  collection  of  sonatas.  Owed  much 
of  his  early  success  to  his  "Florentine"  and  "  Wallen- 
stein"  symphonies. 

1840.  James  Hamilton  Clarke  (Birmingham),  1840-1912. 
English  composer  of  much  music  of  various  kinds. 
Wrote  two  symphonies. 

1840.  Hermann  Goetz  (Konigsberg),  1840-76.  The  early 
death  of  Goetz  prevented  his  fine  Symphony  in  F  from 
having  a  successor  ;  his  single  work  in  this  direction  is 
very  highly  thought  of. 

1840.  Friedrich  K.  Rudorff  (Berlin),  1840-1908.  A  follower 
of  the  Romantic  School.     Composed  two  symphonies. 

212 


Appendix  A 


1840.  J.  S.  Svcnsden  (Christiania),  1840-1911,  His  single 
symphony  (in  D  major)  has  been  much  played  in  this 
and  other  countries. 

1840.  P.  I.  Tchaikovsky  (Votinsk),  1840-93.  The  later 
symphonies  of  this  composer  are  as  well  known,  and  as 
often  played,  as  any  at  the  present  time. 

1841.  Anton  Dvorifc  (near  Kralup),  1841-1904.  One  of  the 
most  successful  of  modern  symphonists  ;  his  "  New 
World  Symphony"  is  almost  a  household  word. 

1841.  Franco  Faccio  (Verona),  1841-91.  At  one  time  he  was 
considered  as  of  importance  amongst  modern  Italian 
composers.  His  Symphony  in  F  displays  some  origin- 
ality. 

1842.  Heinrich  Hoffmann  (Berlin),  1842-1902.  Composed  a 
"Frithjof"  symphony. 

1842.  Arthur  S.  Sullivan  (London),  1842-1900.  So  well 
known  as  a  composer  of  charming  light  operas.  Wrote 
one  symphony  during  his  mid-career. 

1843.  Asgcr  Hamcrik  (Copenhagen).  Has  written  six  sym- 
phonies, all  with  titles.  He  was  a  pupil  of  Sade,  and 
also  studied  orchestration  under  Berlioz. 

1843.  H.  von  Hcrzogcnbcrg  (Graz),  1S43-1900.  A  composer 
who  was  much  influenced  by  Brahms.  Wrote  works  of 
many  kinds,  including  a  symphony,  "Odysseus." 

1843.  Gustav  Jensen  (Konigsberg),  1843-95.  A  brother  of 
the  more  famous  Adolph  Jensen.     Wrote  one  symphony. 

1843.  Giovanni  Sgambati  (Rome),  1843-1914.  Was  one  who 
upheld  the  lamp  of  classical  musical  art  in  Italy  ;  he  con- 
tributed important  examples  to  the  list  of  symphonies. 

211 


Story  of  Symphony 

1843.  Jules  de  Swert  (Louvain),  1843-91.  A  well-known 
'cellist,  and  the  composer  of  operas  and  symphony. 

1844.  N.  A.  Rimsky-Korsafcoff  (Tichwin),  1844-1908.  Another 
of  the  excellent  Russian  composers  of  opera.  His  sym- 
phonies, mostly  on  programme  lines,  are  extremely  well 
orchestrated. 

1844.  Josef  Rcbicek  (Prague),  1844-1904.  A  well-known  con- 
ductor. Left  a  Symphony  in  D  minor  as  his  chief 
composition. 

1845.  Anastasius  Drezzer  (Poland).  A  brilliant  pianist  and 
composer  of  two  symphonies. 

1845.  Gabriel  Faurf  (Pamiers).  A  prominent  French  com- 
poser.    Wrote  a  symphony,  produced  in  Paris  in  1885. 

1845.  Charles  Marie  Widor  (Lyons).  The  distinguished 
French  organist.  Has  written  two  orchestral  sym- 
phonies, besides  some  so-called  symphonies  for  the 
organ. 

1846.  August  Bungert  (Miilheim).  A  modern  German  follower 
of  the  symphonic  poem. 

1846.  Jules  Bordier,  1846-96.  A  composer  of  symphonic 
poems.  Was  one  of  the  first  Frenchmen  to  champion 
the  cause  of  Wagner. 

1846.  Silas  G.  Pratt  (Addison,  U.S.A.).  A  distinguished 
American    composer    of    symphonies    and    symphonic 

suites. 

1846.  Thomas  Wingham  (London),  1846-93.  Wrote  four 
symphonies. 

1S47.  Francis  W.  Davenport  (near  Derby).  A  musical 
theorist  and  composer  of  two  symphonies. 

214 


Appendix  A 


1847.  August  Klughardt  (Cothen),  1847- 1902.  Wrote  a 
"Leonore"  and  four  other  symphonies. 

1847.  Robert  Fuchs  (Frauenthal).  Has  written  some  serenades 
for  string  orchestra  which  are  much  played,  and  also  a 
Symphony  in  C. 

1847.  Augusta  Mary  Ann  Holmls  (Paris),  1847-1903.  Wrote 
three  entitled  symphonies,  which  were  very  successful  in 
Paris. 

1847.  L.  PhiHpp  Scharwcnka  (Samter),  whose  pianoforte 
compositions  are  so  multitudinous,  has  composed  two 
symphonies. 

1847.  G.  B.  Salvayrc  (Toulouse).  A  noted  French  composer. 
Has  written  a  "Biblical"  Symphony, 

1848.  Sigismund  Noszfcowski  (Warsaw).  A  distinguished 
contemporary  orchestral  composer. 

1848.  Sir  Hubert  Parry  (Bournemouth).  Has  written  ex- 
cellent symphonies,  in  addition  to  works  of  almost  every 
other  description. 

1849.  Benjamin  Godard  (Paris),  1849-95.  Wrote  six  sym- 
phonies, some  of  them  with  titles. 

1849.  M.  M,  Ivanoff  (Moscow).  A  pupil  of  Tchaikovsky. 
Has  composed  symphonies. 

1850.  Zdenko  Fibich  (Bohemia),  1850-1900.  A  nationalist 
composer  and  one  who  did  much  in  opera.  Also  wrote 
three  symphonies  and  numerous  orchestral  pieces. 

1850.  OIc  Olscn  (Hammerfest).  An  ultra-modern,  who  has 
written  a  symphony  and  various  tone-poems. 

1850.  F.  X.  Scharwenka  (Samter).  Brilliant  pianist.  Has 
written  a  symphony  possessing  Polish  characteristics. 

215 


Story  of  Symphony 

185 1.  Vincent  d'Indy  (Paris).  A  prominent  member  of  the 
modern  French  school.  Has  written  important  sym- 
phonic works. 

185 1.  Victor  E.  Bendix  (Copenhagen).  A  writer  of  piano- 
forte music  and  of  symphonies. 

1852.  Hans  Huber  (Schonewerd,  Switzerland).  Wrote  a  well- 
known  Symphony  in  E  minor  which  is  an  eulogy  of  a 
Swiss  painter  (Bocklin) ;  the  last  movement  is  based 
upon  a  series  of  suggestions  derived  from  eight  of  his 
pictures. 

1852.  Sir  Frederick  H.  Cowen  (Jamaica).  Has  written 
several  entitled  symphonies,  and  many  brilliant  or- 
chestral works. 

1852.  Sir  C.  V.  Stanford  (Dublin).  Has  done  dignified  and 
scholarly  work  in  the  direction  of  symphony.  More 
recently  he  has  written  orchestral  rhapsodies. 

1852.  Max  Vogrich  (Transylvania),  some  of  whose  pianoforte 
pieces  are  quite  popular.    Has  written  some  symphonies. 

1853.  J.  A.  Nicodc  (Posen).  His  symphonic  poems,  and  his 
symphony  with  solo,  chorus,  orchestra,  and  organ,  entitled 
"  The  Sea,"  are  highly  thought  of. 

1854.  George  Whitfield  Chadwicfc  (Lowell,  Mass.).  Is  one 
of  the  foremost  of  American  composers.  He  has  written 
three  symphonies. 

1854.  Alex.  Kopyloff  (Petrograd).  One  of  the  many  Russian 
composers  of  symphony. 

1854.  Alex.  Winogradsky  (Kiefif).  A  famous  conductor.  Has 
composed  symphonic  works. 

216 


Appendix  A 


1855.  Ernest  Chausson  (Paris),  1855-99.  Was  one  of  the 
most  prominent  of  modern  French  composers.  He  wrote 
one  symphony  and  three  symphonic  poems. 

1856.  G.  Martucct  (Bologna),  1856-1909.  Shared  with  Sgam- 
bati  the  honour  of  upholding  music  of  the  best  kind  in 
his  native  land.  His  symphonies  have  occasionally  been 
played  in  England. 

1856.  Christian  Sinding  (Kongberg).  A  Norwegian  com- 
poser of  eminence;  his  Symphony  in  D  minor  is  very 
well  known. 

1856  S.  I.  Tancicff  (Vladimir).  A  well-known  pianist.  Has 
written  several  symphonies. 

1857.  Sir  Edward  Elgar  (Broadheath).  The  hopes  of  English- 
men are  largely  centred  in  this  composer,  although  his 
two  symphonies  have  not  gained  the  esteem  in  which 
his  choral  writings  are  held. 

1857.  Frederick  Cliffe  (Bradford).  His  Symphony  in  C  minor 
is  amongst  his  most  important  works. 

1859.  Camlllc  Chevillard  (Paris),  1859-1903.  A  notable  French 
symphonic  composer. 

1859.  S.  Liapounoff  (Jaroslavl).  Has  published  a  Symphony 
in  B  minor. 

1859.  Algernon  Ashton  (Durham).  Is  an  English  composer 
of  pertinacity  and  grim  determination,  whose  symphonies, 
like  many  of  his  larger  works,  have  not  met  with  a  great 
measure  of  success. 

i860.  Gustav  Mahler  (Bohemia).  Is  perhaps  the  most  in- 
teresting of  modern  German  composers  of  symphony. 
His  works  are  of  great  length  and  employ  very  large 

217 


Story  of  Symphony 

orchestras  for  their  performance.     Opinions  are  divided 
as  to  the  value  of  his  works. 

i860.  Gustavc  Charpenticr  (Dieuze).  Is  much  better  known 
by  his  delightful  opera,  "  Louise,"  than  by  his  orchestral 
and  symphonic  works. 

i860.  I.  J.  Padcrewski  (Podolia).  The  world-renowned 
pianist.     Includes  a  symphony  amongst  his  compositions. 

i860.  William  Wallace  (Greenock).  Has  written  a  symphony, 
"  The  Creation,"  and  several  symphonic  poems. 

1861.  E.  N.  von  Reznicck  (Vienna).  A  Czech  composer  of 
opera.  Has  composed  a  "  Tragic  "  and  also  an  "  Ironic  " 
symphony. 

1862.  A.  A.  Arensky  (Novgorod),  1861-1906.  Has  written 
some  symphonies,  but  his  name  is  more  familiar  to  lovers 
of  chamber  music. 

1862.  J.  Edward  German  (Whitchurch),  whose  light  orchestral 
music  has  so  many  admirers.  Has  also  written  works  in 
the  more  dignified  form  of  symphony. 

1862.  Leon  Boellmann  (Alsace),  1862-97.  A  famous  organ 
composer.  Has  written  a  symphony  for  organ  and 
orchestra. 

1863.  F.  Blumenfeld  (Kovaleska).  A  Russian  composer  who 
has  written  a  symphony,  "A  la  memoire  de  chers 
ddfunts." 

1863.  Frederick  Dclius  (Bradford).  Is  a  most  important 
present-day  composer  of  symphonic  works,  although  he 
has  written  no  symphonies  so  called.  His  writings  are 
mostly  of  the  order  of  the  symphonic  poem. 

1863.  Felix  Weingartner  (Zara).  Great  conductor.  Has 
published  two  symphonies. 

218 


Appendix  A 


1864.  Alex.  Grctchaninoff  (Moscow).  Contemporary  Russian 
composer  of  symphony. 

1864.  Richard  Georg  Strauss  (Munich).  His  symphonic 
poems  have  created  one  of  the  sensations  of  recent 
years;  his  "Domestic  Symphony"  is,  however,  not  one 
of  the  happiest  of  these. 

1865.  Paul  Gilson  (Brussels).  A  composer  of  opera.  Has 
written  a  symphony,  "  La  Mer." 

1865.  Paul  Dukas  (Paris).  Widely  known  by  his  orchestral 
work,  "L'Apprenti  Sorcier."  Has  also  written  a  sym- 
phony and  a  symphonic  poem, 

1865.  A.  Glazounoff  (Petrograd).  Is  probably  the  most 
prominent  of  modern  Russian  composers  of  symphony. 
His  numerous  works  in  this  direction  are  classically 
conceived,  and  yet  contain  many  features  of  present- 
day  interest. 

1865.  Jean  Sibelius  (Tavastehus).  This  Finnish  composer  has 
done  much  orchestral  composition  of  a  high  order.  His 
symphonies  and  symphonic  poems  are  not  yet  as  well 
known  as  his  popular  tone-poem,  "  Finlandia." 

1866.  Basil  Kilinnikoff  (Voina),  1 866-1 901.  A  Russian  com- 
poser whose  first  symphony  was  well  received.  His 
early  death  prevented  this  success  from  being  followed 
up. 

1867.  Mrs.  H.  H.  A.  Beach.  A  talented  American  composer 
who  has  written  a  "Gaelic"  symphony. 

1868.  Granville  Bantock  (London).  Is  interesting  for  his 
attempts  to  write  symphonies  for  voices  only.  He  has 
also  written  orchestral  symphonic  works. 

219 


Story  of  Symphony 

i868.  Max  Schillings  (Diiren).  Composer  of  opera  and  of 
symphonic  poems. 

1869.  Armas  Jarncfclt  (Viborg).  Composer  of  a  popular 
orchestral  "  PrcTeludium."  Has  also  written  symphonic 
poems. 

1870.  Sigismund  Stojowski  (Strelce).  This  Polish  musician 
has  published  a  symphony  and  certain  symphonic  works. 

1872.  S.  von  Hauscggcr.  A  German  author  and  composer. 
His  symphonic  poems  are  well  spoken  of. 

1872.  Paul  Juon  (Moscow).  Has  written  two  symphonies, 
the  First  having  been  played  at  least  twice  in  London. 

1872.  Ralph  Vaughan  Williams  (Down  Ampney).  Has 
written  a  "Sea"  symphony  and  other  orchestral  works. 

1872.  A.  N.  Scriabine  (Moscow),  1872-1915.  One  of  the  most 
widely  discussed  of  modern  composers.  His  earlier 
symphonies  have  been  eclipsed  by  his  "Divine  Poem," 
recently  brought  to  a  hearing.  Further  interesting 
developments  were  arrested  by  his  early  death. 

1873.  S.  V.  Rachmaninoff  (Novgorod).  Composer  of  the 
famous  pianoforte  "  Prelude."  Has  written  some  sym- 
phonies. 

1873.  Max  Regcr  (Brand).  An  ultra-serious  musician,  re- 
nowned for  his  organ  works.  Has  composed  a  sym- 
phony. 

1874.  Reinhold  Glicre  (Kieff).  A  symphony  in  E  flat  was 
played  in  London  in  1906. 

1874.  Josef  Suk  (Krecovic).  A  Bohemian  violinist.  Has 
written  a  symphony  in  E  minor. 

220 


Appendix  A 


1877.  Ernst  von  Dohnanyi  (Pressburg).  A  fine  modern 
composer.  His  symphony  in  D  minor  is  one  of  his 
largest  works. 


1879.    George   Fitelberg   (Diinaberg). 
Symphony  m  D  mmor. 


Has  also   published  a 


1883.  Maximillian  Steinberg  (Vilna).  Rather  a  classic  in 
style.  His  Second  symphony  has  recently  been  played 
in  London. 

Among   other   contemporary   composers   of  symphony  and 
symphonic  poems  may  be  mentioned: — 


Arnold  Bax. 

W.  H.  Bell. 

Frank  Bridge. 

Yorke  Bowen, 

A.  von  Ahn  Carse. 

J.  B.  McEwen. 

H.  Balfour  Gardiner. 

M.  Esposito. 

Goedicke. 

E.  Halsey. 


A,  Hinton. 

J.  Holbrooke. 

Emmanuel  Moor. 

Malichivsky. 

M.  Phillips. 

Wassilenko. 

Wischnegradski. 

Zemlinsky. 

Zolatareff. 

Walter  Rabl. 


221 


Appendix  B. 
Glossary  of  Terms. 


Absolute  Music.  Music  depending  entirely  upon  its  own 
appeal,  and  independent  of  surreptitious  aids,  such  as  those 
supplied  by  titles,  programme,  or  words. 

Arco.  Played  with  the  bow.  Used  for  stringed  instruments 
in  opposition  to  the  term  pizzicato. 

Air  with  Variations  (or  Theme  with  Variations),  a  form 
frequently  used  in  Symphony,  more  especially  in  earlier 
days.  The  Finale  of  Beethoven's  "Eroica"  is  a  good 
instance. 

Brass.  The  trumpets,  trombones,  tuba,  and  other  brass 
instruments  of  the  orchestra.  The  horns,  although  of 
brass,  are  usually  included  with  the  wood-wind. 

Canon,  a  composition  in  which  an  idea  started  in  one  voice 
or  instrument  is  strictly  repeated  in  another  at  a  certain 
distance  of  time  and  interval.  A  good  instance  occurs  in 
Beethoven's  Fourth  symphony. 

Cembalo  (Italian).     See  Clavier. 

Classical  Orchestra.     (See  Appendix  C.) 

222 


Appendix   B 


Clavier,  a  predecessor  of  the  pianoforte.  In  early  days  the 
conductor  used  to  direct  the  performance  from  the  clavier, 
the  baton  not  being  in  use. 

Contrapuntal,  employing  the  devices  of  counterpoint. 

Coda,  the  final  part  of  a  movement,  in  which  the  subject- 
matter  is  usually  developed  and  treated  in  a  different 
manner  to  its  former  presentation.  The  importance  of  the 
coda  is  much  emphasised  in  Beethoven's  works. 

Colour  in  music  is  obtained  (by  analogy)  by  the  employment 
of  certain  characteristics.  Orchestral  colour  arises  from 
the  blending  and  contrasting  of  the  various  instrumental 
forces. 

Concert  Overture,  a  work  in  a  single  movement,  generally 
entitled,  but  written  on  the  plan  of  the  first  movement  of  a 
symphony. 

Counterpoint.  The  art  of  adding  melodies  to  one  another,  as 
opposed  to  the  mere  filling  up  of  harmonies. 

Development  Section.  The  portion  of  a  movement  in  which 
themes  previously  heard  are  subjected  to  variety  of  treat- 
ment. 

Divertimento,  originally  a  "diversion,"  a  term  occasionally 
applied  to  early  symphonic  works. 

Fantasia.  Orchestral  works  which  are  not  in  definite  shape 
are  sometimes  so  called. 

Finale,  the  last  movement  of  a  work,  and  generally  the 
weakest  portion,  though  there  are  notable  exceptions. 

Folk  Song,  a  song  of  the  people ;  numerous  examples  are 
introduced  into  their  works  by  modern  Russian  and  Eng- 
lish composers. 

223 


Story  of  Symphony 

Form.      The  architectural  design  or  shape  of  a  musical  work. 

Fogato.  Passages  in  the  manner  of  a  Fugue.  Notable  ex- 
amples occur  in  the  slow  movements  of  Beethoven's 
"  Eroica  "  and  A  major  symphonies. 

Ground  Bass.  A  reiterated  bass,  with  varying  harmonies  and 
variety  of  treatment.  Sometimes  the  theme  of  the  bass  is 
transferred  to  a  middle  or  top  part.  The  Finale  of  Brahms' 
Fourth  symphony  employs  this  device. 

Instrumentation  deals  with  the  pitch,  compass,  and  quality  of 
the  various  orchestral  instruments. 

Interlude.  A  short  passage  linking  together  more  important 
parts  of  the  musical  structure. 

Introduction.  A  very  common  procedure  in  symphony  is  to 
preface  the  opening  quick  movement  with  a  number  of 
bars  in  slow  time.  The  introduction  may  be  of  any  length  ; 
in  Haydn  it  is  often  a  few  bars  only ;  in  Beethoven's 
Seventh  Symphony  occurs  a  very  long  and  fully  developed 
introduction.  Brahms,  in  his  First  symphony,  has  lengthy 
introductions  both  to  the  first  movement  and  to  the  finale. 

Lcit-Motif,  or  guiding  theme.  A  distinctive  fragment  of 
melody  (or  possibly  harmony  or  rhythm)  largely  used  by 
Wagner  for  purposes  of  characterisation.  Its  use  in  sym- 
phony is  demonstrated  in  the  works  of  Berlioz  and  Liszt. 

Metamorphosis  of  Themes.  Varying  treatments  of  subject- 
matter.  The  themes  are  altered  in  tempo,  rhythm,  etc., 
to  gain  diversity  in  unity.     Liszt  employs  this  device. 

Minuetto,  a  dance  of  stately  character,  which  held  place  as  the 
third  movement  of  a  symphony,  until  Beethoven  sup- 
planted it  by  the  scherzo. 

224 


Appendix   B 


Modulation,  the  process  of  passing  from  key  to  key. 

Monodic.  A  term  applied  to  a  kind  of  writing  in  which  chief 
place  is  given  to  the  melody,  and  little  use  is  made  of 
contrapuntal  devices. 

Opus.  A  work.  Its  abbreviation  op.  is  used  to  indicate  the 
order  (op.  i,  op.  2,  etc.)  in  which  the  printed  works  of 
composers  are  published. 

Orchestral  Suite.     (See  Suite.) 

Orchestration,  the  art  of  combining  the  various  instruments  of 
the  orchestra. 

Overture,  the  instrumental  beginning  of  an  opera,  from  which 
the  symphony  took  its  rise. 

Partitur  (German).     Score,  q.v. 

Percussion,  the  drums,  cymbals,  gongs,  triangle,  etc.,  of  the 
orchestra. 

Pizzicato.  Strings  plucked  with  the  finger.  An  excellent 
example  of  the  whole  stringed  orchestra  ^^XTi^'m^  pizzicato 
occurs  in  the  scherzo  of  Tchaikovsky's  fourth  symphony. 

Polyphonic  music  is  that  in  which  all  instruments  or  voices 
taking  part  have  music  of  an  equal  degree  of  importance. 
It  is  opposed  to  Monodic  music. 

Recitative,  a  kind  of  musical  declamation,  or  music  without 
definite  rhythm  or  melody.  Both  instrumental  and  vocal 
examples  of  it  occur  in  the  last  movement  of  Beethoven's 
"  Choral  Symphony." 

Rhapsody  is  another  term  for  orchestral  works  of  no  set  design. 

Rhythm,  the  swing  or  lilt  of  the  music.  Certain  movements 
{e.g.,  the  first  allegro  in  Beethoven's  seventh  symphony) 
are  much  more  rhythmic  than  others. 


Story  of  Symphony 

Ritornello.     A  short  instrumental  fragment.     (See  Chapter  II.) 

Scherzo.  A  jest.  A  very  quick  and,  generally,  playful  move- 
ment, which  developed  from  the  minuet.  Most  symphonies 
include  a  scherzo  as  either  their  second  or  third  movement. 

Score.  The  printing  of  the  music  in  such  a  way  as  to  show 
what  every  instrument  or  voice  has  to  do. 

Scoring.     Another  term  for  orchestration. 

Strings.  The  violins,  violas,  violoncellos,  and  double-basses 
of  the  orchestra. 

Suite.  A  collection  of  pieces,  generally  all  in  one  key,  and 
largely  built  upon  dance  forms.  The  symphony  and 
sonata  grew  out  of  the  suite. 

Symphonic  Ode.  A  work  of  symphonic  dimensions,  but 
including  a  chorus.  David's  "  Le  Desert''  is  a  typical 
example. 

Toccata,  a  brilliant  showy  piece,  generally  of  quick  running 
notes. 

Tone  Poem,  a  name  often  given  to  the  symphonic  poem. 

Trio.  An  alternative  section  to  the  minuet  ;  later,  it  became 
an  alternative  to  the  scherzo.  Beethoven  in  his  fourth  and 
seventh  symphonies  has  it  played  twice  ;  Schumann 
develops  this  idea  by  having  two  different  trios.  In  either 
case  the  scherzo  proper  is  played  three  times. 

Wood-Wind.  The  flutes,  oboes,  clarinets,  and  bassoons. 
With  these  are  often  reckoned  the  horns.  Modern  com- 
posers often  add  to  this  section  of  the  orchestra  (Cor 
Anglais,  etc.). 


236 


Appendix  C. 

Lists  of  Instruments  Employed 
in  Symphonies  of  Different 
Periods. 

1.  The  "Zinfonia"  in  Peri's  "Euridice"  (1600). 

3  Flutes. 

2.  C.  P.  E.  Bach  and  the  earliest  symphonies  of  Haydn 
(Circa  1756). 

2  Oboes.  Strings. 

2  Horns. 

3.  A  late  Haydn  Symphony,  "The  Military"  (1794). 

1  Flute  2  Trumpets. 

2  Oboes.  Timpani.  / 
2  Bassoons.                               Strings. 

2  Horns. 

The  clarinets  are  not  present  here.  Haydn  sometimes 
employed  them,  but  they  were  not  in  general  use  in  his  time. 
Mozart  also  omits  them  from  his  earlier  symphonies,  but  in- 
cludes them  later,  after  having  heard  some  works  in  which 
they  were  employed. 

227 


Story  of  Symphony 


4.  The  "Classical,"  or  "Beethoven"  Orchestra,  as  exem- 
plified in  that  master's  Seventh  Symphony  (1812),  became  the 
accepted  model  for  many  years. 


2  Flutes. 
2  Oboes. 
2  Clarinets. 
2  Bassoons. 


2  Horns. 

2  Trumpets. 

Timpani 

Strings. 


5.  The  trombones  (three  or  four),  horns,  the  double  bassoon, 
etc.,  were  occasionally  introduced  by  Beethoven.  With  the 
works  of  Schubert  and  other  romance  composers  we  find  the 
four  horns  and  the  trombones  accepted  as  regular  members  of 
the  orchestral  force. 

6.  Brahms'  First  Symphony,  op.  68,  is  scored  for  the  usual 
orchestra  of  the  period  (1876). 


2  Flutes. 
2  Oboes. 
2  Clarinets. 
2  Bassoons. 
Double  Bassoon. 
2  Horns  in  C. 


2  Horns  in  E  flat. 

2  Trumpets. 

3  Trombones  (last  move- 

ment only). 
Timpani. 
String^s. 


7.  As  an  example  of  the  large  orchestra  sometimes  de- 
manded by  composers  of  the  present  day  may  be  instanced  the 
sixth  symphony  of  Mahler. 


4  Flutes. 
4  Oboes. 

Clarinet  in  E  flat. 
3  Clarinets  in  B  flat. 
Bass  Clarinet  in  B  flat. 
3  Bassoons, 


Glockenspiel. 
Heerdenglocken. 
Xylophon. 
Bass  Drum. 
Triangle. 
Side  Drum. 


228 


Appendix  C 


I  Double  Bassoon. 

Cymbals. 

8  Horns. 

Tambourine, 

4  Trumpets. 

Harps. 

3  Trombones. 

Celesta. 

Bass  Tuba. 

Strings. 

Timpani. 

229 


Appendix  D. 

A  List  of  Entitled  Symphonies, 
grouped  under  Alphabetical 
List  of  Composers'  Names. 


Except  in  the  case  of  Haydn,  who  did  not  use  Opus  numbers 
to  any  large  extent,  it  was  not  the  custom  of  the  classic  com- 
posers to  give  names  to  their  symphonies ;  with  the  rise  of  the 
Programme  and  Romantic  Schools,  however,  it  became  a  very 
common  procedure,  although  some  moderns,  such  as  Brahms, 
Glazounoff,  etc.,  have  preferred  to  let  their  works  remain  under 
the  general  title  of  "'Symphony."  As  all  symphonic  poems 
have  names,  they  are  not  included  in  the  following  list.  In 
some  cases  names  for  symphonies  have  not  been  bequeathed  by 
their  composers,  but,  as  in  the  case  of  Schubert's  "  Unfinished," 
cling  to  them  by  general  consent. 


Abert 

-     "  Spring." 

Bazzini 

-     "  Senacheribbo"  (Choral  Symphony). 

Beach 

-     "  Gaelic. '= 

Beethoven 

-     "  Eroica." 

"  Pastoral." 

."Choral." 

There    is    also    a    "Battle"     Symphony. 

230 

Appendix  D 


Another  work  attributed  to  Beethoven, 

which     was     unearthed     a     little     time 

back,  has  been  called  the  "Jena"  Sym- 

phony. 

Bell 

-     "Walt  Whitman." 

Benoit 

-     Choral  Symphonies,  "The  Reapers"  and 

"Hucbald." 

Berlioz 

-     "  Harold  in  Italy." 

"  Funeral  and  Triumphal." 

"Romeo  and  Juliet." 

"  Fantastic." 

Blumenfeld 

-     "  A  la  memoire  de  chers  defunts." 

Bronsart    - 

-     "In  the  Alps  "(Choral). 

"Powers  of  Fate." 

Cliffe 

-     "A  Summer  Night." 

Cowen 

-     "The  Idyllic." 

"The  Scandinavian." 

"  The  Welsh." 

David 

-     "  Le  Desert "  (Symphonic  Ode). 

Dittersdorf 

-     "  Symphonie  dans  le  genre  de  cinq  nations." 

Twelve  symphonies  on  subjects  from  Ovid's 

Metamorphoses— '■'•  Ox:^\v^\xs"  "Aja.x  and 

Ulysses,"  etc. 

Draeseke  - 

-     "  Tragic." 

Dvorak 

-     "From  the  Ne\' World." 

Ehlert 

-'    "Spring." 

Ellerton     - 

-     "The  Forest." 

Franck 

-     "  Psyche." 

Gilson 

-     "  La  Mer." 

Godard 

-     "  Legendary." 

"  Gothic." 

"Oriental." 

Goldmark  - 

-     "  Rustic  Wedding." 

231 

Story  of  Symphony 


Gossec 

-     "The  Chase." 

Gottschalk 

-     "  Le  Nuit  des  Tropiques." 

Hamerik    - 

-     "Poetic,"  "Tragic,"  "Lyric,"  "Majestic," 

"Serious,"  "Spiritual." 

Haydn 

-     A  very  large  number  of  Haydn's   works 

have  names;  the  chief  are  "The  Fare- 

well," "The    Oxford,"  "The    Surprise," 

"The  Clock,"  and  "The  Mihtary." 

Herzogenberg 

-     "Odysseus." 

Hiller 

-     "  Spring  must  come  at  last." 

Hirschbach 

-     "  Life   Struggles,"   "  Recollections   of  the 

Alps,"  etc. 

Holmes 

-     "Jeanne  d'Arc." 

"The  Youth  of  Shakespeare." 

"  Robin  Hood." 

"The  Siege  of  Paris." 

Holmes     - 

-     "The  Argonauts." 

"Lutece." 

"  Orlando  Furioso." 

Hofman     - 

-     "  Frithjof." 

Huber 

-     "  Bocklin." 

"  Tell." 

D'Indy      - 

-     "Jean  Hunyade." 

Janssens    - 

-    "  Le  Lever  du  Soleil." 

Jonciere     - 

-     "Romantic." 

"La  Mer"  (Choral). 

Klughardt 

-     "  Leonore." 

Knecht      - 

-     "  Portrait  musical  de  la  Nature." 

Kollmann  - 

-     "The  Shipwreck." 

Leslie 

-     "  Chivalry." 

Liszt 

-     "  Dante." 

"  Faust." 

Mahler      - 

-    "The  Song  of  Earth." 

232 

Appendix  D 


V 


Mendelssohn 


Mozart 

Napravnik 
Nicode 
Paine 
Parry 

Raff 


Rheinberger 


Reinecke   - 
Reznicek    - 

Rimsky- Korsakoff 
Romberg  - 
Rubinstein 

Salvayre    - 
Schubert    - 


Schulz-Beuthen 
Schumann 

Scriabine  - 
Spohr 


"  Italian." 

"  Reformation." 

"  Scotch." 

"Jupiter,"  "Haffner,"  "  Linz,"  "Parisian," 
"  Prague,"  etc. 

"The  Demon." 

"  The  Sea." 

"Spring." 

"The  Cambridge." 

"The  English." 

"Leonore,"  "Im  Walde,"  "An  das  Vater- 
land,"  etc.,  etc. 

"  Florentine." 

"Wallenstein." 

"  Hakon  Jarl." 

"  Ironic." 

"  Tragic." 

"Antar." 

"Toy." 

"  Dramatic." 

"  Ocean." 

"The  Resurrection." 

"Tragic." 

"Unfinished"  (not  so  named  by  the  com- 
poser). 

"  Fair  Elizabeth,"  etc. 

"  Rhenish." 

"Spring." 

"Divine  Poem." 

"The  Earthly  and  the  Divine." 

"  Historic." 

"  Power  of  Sound." 

"  Seasons." 


O  ^  1 


Story  of  Symphony 


Stanford    - 

Strauss 
Tchaikovsky 


Vaughan  Williams 
Wallace     - 


"Elegiac." 

"  Irish." 

"Domestic." 

"Polish." 

"  Pathetic." 

"Winter  Day  Dreams." 

"A  Sea  Symphony." 

"The  Creation." 


234 


Appendix  E. 
Bibliography. 


All  histories  of  music  and  many  other  works,  deal  incidentally 
with  the  Story  of  Symphony.  The  following  are  either  specially 
devoted  to  the  subject  or  may  be  particularly  recommended: — 

M.  Michel  Brenet. — "  Histoire  de  la  Symphonie."  (Gauthier- 
Villars,  Paris.)  2s.  6d.  Goes  up  to  the  time  of  Beethoven 
only,  with  special  reference  to  Gossec  and  other  composers 
of  France.     (In  French.) 

Berlioz. — "A  Critical  Study  of  Beethoven's  Nine  Symphonies." 
Translated  by  Evans.     (Reeves.)     4s. 

Daymond. — Paper  on  C.  P.  E.  Bach.  ("  Proceedings  of 
Musical  Association,"  vol.  xxxiii.     Novello.)     21s. 

E,  von  Elterlein. — "Beethoven's  Symphonies  in  their  Ideal 
Significance.''  Translated  by  F.  Weber.  (Reeves.) 
3s.  6d. 

Laurence  Oilman. — "  Stories  of  Symphonic  Music."  (Harpers.) 
5s.  Gives  accounts  of  many  modern  programme  works, 
and  relates  the  stories  they  depict. 

Grove.— "  Beethoven  and  his  Nine  Symphonies."  (Novello.) 
6s. 

235 


Story  of  Symphony 

Niccks. — "Programme  Music."  (Novello.)  i6s.  This  masterly 
book  is  more  than  its  title  implies ;  it  really  forms  a  com- 
plete history  of  music  and  opens  up  much  new  ground. 

"Oxford  History  of  Music."  Volumes  iv.,  v.,  vi.  (Clarendon 
Press,  Oxford.)     Each,  15s. 

Parry. — Article  in  Grove's  "Dictionary,"  vol.  iv.  (Macmillan.) 
2is.  Quite  of  book  dimensions,  and  a  splendid  survey  of 
the  history  of  symphony  up  to  the  time  of  Brahms. 

Teetgcn. — "  Beethoven's  Symphonies  Critically  Discussed." 
(Reeves.)     3s.  6d. 

Wagner.— "Art  Work  of  the  Future."  Translated  by  Ashton 
Ellis. 

Wcingartner. — "  Symphony  Writers  since  Beethoven."  Trans- 
lated by  A.  Bles.     (Reeves.)     6s. 


2;j6 


Index 


Abel,  20 
Arensky,  158 
Auber,  96 

Bach,  Carl  Philip  Emmanuel,  24, 

25-27,  28,  29,  139,  174 

John  Christian,  18,  20,  22 

Johann  Sebastian,  25 

Balakireff,  158,  169 

Bantock,  Granville,  151,  183 

Barnett,  147 

Beethoven,    31,   41,   42-115,    118, 

119,    128,    139,    172,    173,    17S, 

188 
Bennett,  William  Sterndale,   147, 

148 
Berlioz,  133,  136,  138,  168,  185 
Boccherini,  20 
Borodine,  158 
Boyce,  Dr.,  10 
Brahms,  31,   59,  60,   61,  65,   66, 

67»  72,  73.  139.  140,  i43>  144 
British  symphony  composers,  145 

vocal  music,  145 

Bruch,  Max,  164 
Bruckner,  Anton,  163,  164 

Carissimi,  9 
Cavalieii,  Emilio  del,  9 
Chadwick,  George  Whitfield,  165 
Charpentier,  Gustav,  163 
Cowen,  Sir  Frederick,  149 


Dance  forms,  17 
Davenport,  147 
David,  Felicien,  137,  186 
Debussy,  170 
Delius,  Frederick,  151 
D'Indy,  Vincent,  163 
Dittersdorf,  20,  21 
Dukas,  Paul,  163 
Dvorak,  Antonin,   140,   161,   166, 
169 

Elgar,    Sir    Edward,    144,    149, 

i5o>  177 
EUerton,  147 
Esterhazy,  Prince,  28 

FiBiCH,  162 
Franck,  Cesar,  162 

Gade,  Niels  W.,  131 
Galuppi,  20,  163 
German,  Edward,  151 
Glazounoff,  157,  169,  177 
Glinka,  169 
Gluck,  13 
Goetz,  131 
Goldmark,  Carl,  137 
Gossec,  20,  174 

Handel,  10,  18,  27,  145 
Haydn,  5,  18,  19,  22,  25,  28,  30, 
31,  32,  35.  37.  38,  43.  44.  45. 

37 


Story  of  Symphony 


46, 52, 64, 82,  179,  180,  182, 
184, 186 

Hiller,  Ferdinand,  164 
Holbrooke,  Josef,  187 

JAHN,  Otto,  37 

Leslie,  147 

Liszt,  100,  136,  138,  168,  183 

Lully,  II,  13 


MacDowell,  165 

Macfarren,    George    and    Walter, 

148 
Mahler,  Gustav,  164,  183 
Martucci,  Giuseppe,  165 
Mendelssohn,  100,  122,  124,  125, 

126,    128,    129,    130,    145,    174, 

184,  185 
Monodic  School,  25 
Monteverde,  il,  12 
Mozart,  19,  25,  28,  30,  32,  34-41, 

43.  44.  45.  46,  52,  64,  186 
Leopold,  20 


Napravnik,  162 
Neate,  74 

Nicolaus,  Prince,  181 
Niecks,  184 
Noskowski,  169 


Olskn,  Ole,  163 
Orchestras,  early,  21 
"  Organistrum,"  2 


Paderkwski,  159 
Paine,  John  Knowles,  165 


Parry,  Sir  Hubert,  45,  144,  148 

Peri,  3.  "  . 

Philharmonic  Society  of  London, 

102,  124,  154 
Programme  symphony,  132 
Purcell,  145 

Rachmaninoff,  158 
Raff,  130,  137,  138,  174 
Reger,  Max,  165 
Rimsky-KorsakofT,  157 
Ritornelli,  2,  6,  8,  9,  10 
Romantic  School,  I16,  131 
Romberg,  182 
Rossini,  96 

Rubinstein,     Anton,      130,      137, 
152 

Saint-Saens,  162,  166,  169 

Salomon,  30,  31 

Scarlatti,  Alessandro,  13,  17,  iS 

Schopenhaner,  72 

Schubert,     119,     120,     122,     128, 

178 
Schumann,  Robert,  122,  127,  129, 

174 
Schwindl,  20 
Scriabine,  158,  170,  171 
Sgambati,  144 
Sibelius,  Jean,  159 
Sinding,  Christian,  163 
Smart,  Sir  George,  102 
Smetana,  160,  161 
Spohr,  118,  119,  185,  1S6 
Stamitz,  J.  K.,  19,  21 
Stanford,  Sir  Charles,  I44,  149 
Strauss,  165,  166,  169,  170 
Stringed  instruments,  17 
Suite  and  Sonata,  16 
Svensden,  163 
Symphony,  uses  of  the  term,  1-3; 

derivation,  3  ;  use  as  interlude, 


238 


Index 


4 ;  meaning  of  the  word,  5 ; 
its  offshoots,  6 ;  its  evolution, 
7  ;  its  rapid  development,  8 ; 
early  use  of  the  term,  8 ;  in- 
teresting example,  9 ;  use  in 
church  music,  9 ;  interlude  in 
song,  10 ;  and  dance  measures, 
17 ;  modern,  24 ;  is  there  a 
future  ?  172 


Tchaikovsky,  32,  152,  153,  155, 
156,  157,  169,  184,  185 


"Toy"  symphonies,  182 
Turkish  music,  112 

volkmann,  164 

Wagenseil,  20 
Wagner,  32,  172,  173 
Wallace,  William,  151 
Weber,  117 
Weingartner,  165,  177 
Williams,  Vaughan,  151 
Wind  instruments,  26 
Wranitzky,  20,  174 


239 


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